Posts Tagged ‘Rhee Gold’

Words from our readers

I am a ballet pianist who played for 32 years at Canada’s National Ballet School before moving to Vancouver in 2008 to play for Arts Umbrella.

I really enjoyed the litany of lingo presented by Diane Gudat [“Dance Studio Lingo,” October 2009]. Here is a list of goodies I’ve picked up during my nearly 40 years of piano pounding for foot-pointers (I am sure the meanings will be clear):

Armed bandit, banana back, Barrebie, bashemble, brié, brump, entrechat crap, entrechat sick, en error, flappes, grand batman, grand prié, painist, pas de duel, pas de shame, pas de shovel, promenod, rond de jam, sec-abesque, tour on luck, “on lounge, eh?” and “pension, eh?”
Trevor McLain
Vancouver, British Columbia

I just read “Ask Rhee Gold” in the March/April 2010 issue. As a studio owner and dance teacher for 26 years, I have always been a stickler for buns in ballet. I am now the proud mother of a 5-year-old girl who loves her ballet/tap combination class. When she was 2 she was diagnosed with a mild strain of a genetic condition called ectodermal dysplasia, which affects hair growth and teeth. She cannot get her hair in a bun and probably never will. This has taught me to be much more sensitive. Things are not always black or white, or “My way or no way.” I watch my daughter brush her hair and look at herself in the mirror. She asks me if she will ever have long hair and it breaks my heart. Our culture puts so much focus on hair—try finding a doll that doesn’t have hair down to her bottom. As I tell her often, it is just hair. I think she is beautiful. So maybe a little girl did go home crying, and maybe the mom wasn’t being another overly protective parent. You just never know.
Kim Brokaw
Jill Mallory Studio of Dance
Miami, FL

Bravo on your great May/June 2010 issue! The article on Company d is a fitting tribute to this extraordinary group of dancers but more importantly, to its founder, Darlene Winters. I am very fortunate to be able to work with all of them, and I am fondest of one picture with the article, the one of Luigi with company member David Hardin.

Also, the article about Dorothy Kloss, the world’s oldest showgirl, is terrific, too. I had the pleasure of taking classes with her last summer plus the previous one at Luigi’s Jazz Centre. She is an inspiration and keeps up her great looks with dance!

P.S. And, as Luigi teaches, “Never Stop Moving.”
Francis J. Roach
Luigi’s Jazz Centre
New York, NY

Thank you so much for your article about eTalent Review [“FYI,” May/June 2010]. We love what you put together and have seen a bit of an up-tick in our traffic. We are honored that you chose to include us!
Jennifer Ray
eTalent Review
Canton, MI

Dear Project Motivate Attendees,

We are fast approaching Project Motivate, the Studio Edition and we’re so excited that you will be joining us! Attendees are coming from across the US and Canada from the following states and provinces, Alberta, Alabama, Connecticut, Delaware, Florida, Illinois, Kansas, Kentucky, Massachusetts, Missouri, North Carolina, New Hampshire, New Jersey, New York, Ontario, Pennsylvania, Quebec, Rhode Island, Virginia, Wisconsin and West Virginia.

We are ready to present an experience that will rejuvenate your dance spirit!

Project Motivate, the Studio Edition Schedule (Subject to change) July 23 (Fri)   12:00 Registration | Coffee and Snacks 1:00-5:00 Business and/or Motivational Seminars 5:00-6:30 Dinner Break (on own) 6:30-8:00 Building a Strong Dance: Technique 101 with Kathy Kozul July 24 (Sat)   8:30-10:00 Coffee Talk—Intimate Q&A with Rennie and Rhee about anything. Continental Breakfast will be served 10:00-12:30 The Classroom Live! 12:30-1:30 Lunch Break (Complimentary) 1:30-3:30 Choreography Live! 3:30-6:00 Business and/or Motivational Seminars 6:00-7:30 Break 7:30 Buffet Dinner and Intimate Performance July 25 (Sun) 8:00-9:00 Continental Breakfast 9:00-1:00 Business and/or Motivational Seminars

On-Site Registration

Project Motivate registration will begin at 12:00 Noon on July 23. Updated schedules, printed materials, conference badges, and more will be distributed at registration. The Gold School, 1154 North Montello Street, Brockton, MA

Complimentary Continental Breakfast July 24 8:30, and July 25, 8:00

Complimentary Lunch July 24, 12:30-1:30

Complimentary Buffet Dinner and Performance

July 24, 7:30 Dinner and drinks will be served, followed by an casual performance by dancers from the Gold School.

Common Questions What should I bring? This entire event is casual, comfortable clothing will work for all 3 days and all events. Feel free to bring a notebook, laptop, audio or video recorders. Note: be sure to have battery power for your equipment (limited electrical outlets). What else can I bring? Often school owners bring their literature to share and exchange with other attendees. Feel free to bring copies of your brochures, newsletters, recital or concert programs, postcards, business cards . . . just about anything that you care to share is cool. Tell me more about the “Classroom and Choreography Live” sessions This concept will offer attendees the opportunity to view Rennie Gold in action with his students.  Two classroom demonstrations with different age groups (approximately 9-12 and 13-plus). His focus will be on building a dancer from the bottom up, both technically and emotionally. He’ll offer techniques for motivating students to be the best that they can be, while emphasizing that they can’t be satisfied with what they accomplished yesterday.   Rennie will also share various warm-ups, progressions, combinations, and more. He will create a piece of choreography for a group of young dancers, demonstrating how to involve students in the creative process and how to generate a teamwork attitude. He’ll share secrets related to utilizing formations and patterns and eliminating the tricks! All presentations will include a Q&A session. What is the address and phone # for the Gold School? Address: 1154 North Montello Street, Brockton, MA (Avon/Brockton line) Phone: 508-584-5499. Who should we contact with questions? Jackie Kitsis | 888.i.dance.9 | 508.285.6650 | Jackie@rheegold.com

We will keep you updated as we move closer to the event. Looking forward to welcoming you to the Gold School! Have a great day–Rhee Gold

In regards to the recent controversy regarding the video of 7 and 8 year old girls . . . As I see these posts throughout the Internet defending the choreography and costumes as the norm, I am feeling frustration. Yes, the dancers are strong, but no they do not have to be presented in this way. Whether they were participating in an urban competition is irrelevant. The same group of dancers can be presented in a way that shows off how technically savvy they are with choreography and costumes that will not offend anyone.

This is not about whether or not these young dancers are talented, instead it’s about the decisions that the adults in these children’s lives have made on their behalf. If this was a good decision, why has it created so much stir? If another choice was made by the adults, this controversy would not be on national television.

The really hard part to accept about this video and the controversy is that I believe the “Adult Decision Makers” have caused our entire field to take a hit. My frustration lies in the knowledge that there are thousands of dance schools and educators who are doing so much good for future generations of children. They know that they are mentors with tremendous influence on their students. They know that the awards are no reason to sacrifice the opportunity for a child to be a child.

Good Morning America and other national shows are focusing on this group of dancers, which I totally get because I do not believe that their performance was appropriate and I also believe that the subject of age-appropriateness needs to be discussed. However, there are young dancers, schools and teachers who do get it and I wish they too could get the kind of coverage that this incident have been given.

OK, I don’t like posting this video because I don’t want to promote this kind of stuff! But, it is a perfect example of taking awesome talent and presenting it in a way that is disturbing to those who believe that children should be children. When a teacher/choreographer makes the decision to present young children in this way, they are making an impression of our profession that makes us all look bad. Yes, the dancers are strong, but all I can think while watching it is, “Why can’t the teacher or parents see how detrimental this is to the dance teaching profession and the children?”

Listen to the audience reaction; I am flabergated!

Want good rapport with your clients? “You catch more flies with honey than with vinegar” is always sound advice.

 

By Rhee Gold

  

Treating students and parents with respect is a must if school owners want to have a successful classroom or school. In the business world this kind of courtesy is called customer service. Being approachable and patient is the way to go in any client interaction, and professionalism is key to making your students and their parents feel like they made the right choice in signing on with your school.

  

Customer service takes various forms. It’s an attitude of helpfulness, a respectful mode of communication, and a nonverbal message that you value your customers and want to make your students’ dance training experience a positive one. Customer service happens in the waiting room, on the phone, in meetings, and in the classroom. There are appropriate and inappropriate behaviors for all these arenas, and the tables in this article give you some specific examples of what will earn you respect and what won’t.

  

Let’s look at verbal interactions first. Although the content of what you say to your clients is important, equally (or more) so is the language you choose or attitude you convey when communicating. Self-doubting teachers or school owners look at parents’ inquiries as insults or as questioning their abilities or policies. Most of the time the truth is that they actually want information. You have the chance to educate them—and increase their respect for you as a professional—if you handle their inquiries correctly.

  

Some teachers complain that they’re sick of answering the same questions year after year. Forget about it and realize that to them it’s a new question and you’re the expert. It should be easy to give a clear and informative answer; after all, you probably don’t even have to think about your response because you’re so familiar with the question.

  

The following are a few examples of improper (“oops”) responses that show neither respect for the person involved nor understanding of an appropriate way to handle each situation, along with win–win responses that will get results. Make these kinds of winning responses a habit and you’ll enjoy more pleasant, respectful relationships with your clients.

    

  

Although words and tone are important aspects of your presentation to the public, so are actions. School owners are leaders who set an example for their faculty and staff, which then trickles down to the students and their parents. The impression they make—on their faculty and staff, and students and their parents—colors the school’s reputation and can mean the difference between a successful business and a failed one. Which side of the following chart do you see yourself on?

  

Teachers create the atmosphere in a classroom, and what gets accomplished during class time depends completely on their attitude or personality. Don’t make the mistake of thinking that good behavior matters only when parents are watching; students take home stories, praise, and complaints about their teachers, and the impression they pass on will shape their parents’ opinions of the instruction offered at your school. What happens in the classroom is more than merely dance instruction—how your instructors teach is as important as what they teach.

  

In conclusion, by periodically reminding yourself and your staff about the value you place on your clients, you’re sure to make treating them with respect standard operating procedure.

By Rhee Gold

Social networking in the dance business used to be a straightforward, low-tech affair. You showed up at a convention or a performance or an awards dinner with shined shoes and a fistful of your business cards, you schmoozed, and you left with a fistful of the other guests’ cards.

Now it’s different. Thanks to Facebook and other Internet sites, you can touch base with business contacts around the world while you’re still on your first cup of morning coffee. It’s so cool to see all the dance people—dance companies, schools, choreographers, dancewear vendors, you name it—who are doing awesome things with social networking to build a better dance community that anyone can join.

I’ve been experimenting on Facebook with separate pages for Dance Studio Life and DanceLifeTV.com. I find it fascinating to be able to reach so many dance people with like interests—and to watch both the social networking hosts and the member businesses as they strategize and try new things. It inspires me to strategize too, which makes me learn what works and what doesn’t. All of us who are road-testing the possibilities are the pioneers of something that we won’t recognize five years (or less) from now.

Many of the dance-related businesses on Facebook, I notice, are aligning themselves with other businesses to help each other gain more fans (or likes). That kind of cooperation, sometimes a scarce commodity in the dance community, is refreshing. It’s something that we all should consider more often. However, I also believe that we all need to think twice—maybe even three times—before taking a step that could be interpreted as an endorsement of somebody else’s product or service.

If a stranger came to the front door of your business with the pitch, “You promote my product or service and I’ll promote yours,” you would immediately ask:

• How long have you been in business?
• Where can I see your product or service in action?
• What is your track record in business?
• Do you have references who have used your product or service whom I could contact?

When it comes to Facebook or other social networking sites, we need to be even more cautious. In a face-to-face encounter, the other guy’s awful haircut, limp handshake, or beat-up ’97 Chevy might tell us all we need to know about his business skills. Online, someone who has learned the right high-tech patter might be able to make us overlook a spotty resume. From what I’ve seen, some people in our field aren’t using the common-sense business instincts online that they would rely on in the “real world.”

When it comes to the opportunity of social networking, I say: Grow with it and discover how it can best serve your business and your potential clientele—but apply the same business mind that you would with any other marketing or mutual promotion proposition that comes your company’s way.

Feel free to share your thoughts on the subject Rhee

With a history in the dance competition world, I have always been a big defender of what I believe the competition experience can offer the dancer. Here and there I talk about the negatives, too. This rant is focused on those who are adjudicating competitions or who would like to become judges someday.

The moment you sit at a judges’ table, it is your responsibility to have absolutely no prejudices about a school, teacher, or a certain style of dance. A judge is there to adjudicate what is being presented on that stage, at that moment in time, with a focus on the technical skill of the dancers, their choreography, performance skills, and all the other things that come into play when you put those numbers on paper. That’s it.

Judges must realize that dance is a very diversified art form. Whether it’s contemporary or a classical ballet piece, I must judge the dancers with the same standards without regard to which style of dance I personally prefer. As a judge, it is ultimately my responsibility to offer young dancers three minutes of my undivided attention to evaluate their skills with a professional eye and no opinion other than that.

As for judges who choose to sit at the table and let their prejudices influence their scores, they shouldn’t be there. It’s as simple as that.

With such strong opinions within the dance community about the value of competition, judges who are swayed by prejudice only reinforce the competition-is-harmful faction.

I know from much experience that very few judges would ever consider anything but doing what is ethically right. I also know that the competition experience can inspire teachers and dancers to be the best that they can be. But those few judges who take advantage of their position have forgotten that the point of the competition isn’t themselves and their prejudices—it’s the students who expect and deserve their professional assessment.

Feel free to post your thoughts on the subject.

Recital Thoughts
By Rhee Gold

Originally published in Dance Studio Life magazine

“Your fall registration will only be as good as your last recital!” These words were often repeated by my mother, who believed that the quality of a recital had much to do with a school’s success. I think of those words every time the topic of recitals comes up at my seminars.

Think about it—when else in a dance season do you have all your students and their families and friends gathered in one place, at one time? The recital is the final impression your school makes on your current clients, and it’s the first impression it makes on an audience full of potential new ones. Since it comes right before summer, when many recreational students take time off from dancing and have a couple of months to decide whether they want to return in the fall, the recital is your chance to ensure that your students re-enroll. And if you do it right, a crop of new students will sign on because your show impressed them.

If you consider the recital as a marketing tool, more valuable than any ad, brochure, or awards, you’ll understand why it’s so important. Make it a priority in your school-year planning. Step one is what I like to refer to as extreme organization. Parents and students should walk into your school at the start of the season knowing all the rehearsal and performance dates and commitments related to the recital. Along with a calendar, give them a list of expenses and policies. Think of it as giving them more information than they need—too much is better than too little. Another great organizational tool is a recital handbook that you distribute to each family.

Start developing your production concepts at the start of the season. Whether or not you go for a themed recital, come up with a title, share it with your teachers and staff, and brainstorm about related ideas and music. Make notes on your brainstorming session and post them on the office bulletin board where everyone involved can add ideas as they come to mind. When it comes to music, variety is crucial; include selections that Nana or Grandpa will appreciate, tunes that teens will think are cool, and something for everyone in between. A recital that moves from hip-hop to Broadway to classical ballet to a funky tap number is the ultimate audience pleaser.

Costume planning should also begin early. Although you’ll base your final choices on several factors, give priority to being sure that every child who will wear the costumes will feel comfortable and confident. I believe many students drop out of dance because they feel inhibited about their appearance onstage.

Start collecting costume deposits in October. All costumes should be paid in full at the time you place your orders so that you do not have to allocate your personal funds to pay for them. Set up a payment plan for your clients to make it easy on them. For example, if a costume costs $65, consider requiring a $25 deposit on October 1, with a second payment of $25 due November 1 and the balance of $15 due on December 1.

As you put the music and the costuming together, estimate the length of your show, taking into account music, intermission, award presentations, or other activities. A good length is two hours or less. Recitals that last three hours or longer become uncomfortable for the audience; if you need that much time, consider adding a second show. If parents have to sit in an auditorium for three or four hours, they may get in the car afterwards and ask their children whether there’s another activity they would like to do next year!

In terms of choreography, you should regard every class as equal. Some teachers spend hours creating a masterpiece for their intensive dancers and then drag out some timeworn pieces for the recreational students. A good choreographer can create works that make even the less skilled dancers look and feel good. Make your audience struggle to determine which students are recreational and which are advanced by giving each class a fresh, tailor-made, age and skill-appropriate dance.

Finally, give your audiences more than they expect. It doesn’t matter if it’s scenery, backdrops, special lighting, or some sort of PowerPoint presentation—go the extra step to make your show special for your students and their families and friends. It’s the best way to make your recital work for you and the future of your school.

By Rhee Gold

“You’re an artistic genius! How do you come up with an idea like that?” “Motivated to be different” is the motto of the teacher who choreographed the piece that everyone is raving about. She’s the one who doesn’t want to be like anyone else or follow the current trends in choreography. Tricks like grabbing a leg and yanking it behind the head (often, unfortunately, with a turned-in supporting leg) are nowhere to be found in her art. The even bigger feats like fouetté turns or multiple jumps are not in her choreographic vocabulary. Yet she continues to awe audiences, judges, and even the choreographers who pepper their dance numbers with tricks.

So how does she do it? It’s this teacher’s personal rule not to use music she has heard before or a concept that she has seen onstage. Throughout the creative process she often stops herself because her mind flashes a “too typical” sign; her reaction is to go to a new artistic place. She just can’t stop herself.

This dance teacher is the same one who invents new curriculum ideas to continually attract fresh faces to her classrooms. Her goal is to constantly place herself in the category of “unique” in the pool of dance schools in her area. She knows that being different is her way of staying on top, and her enrollment numbers reflect her philosophy.

Each time she creates a new program concept, the majority of dance schools in her area follow suit by imitating her offerings. Yet those concepts usually don’t work for the other schools because they don’t have the same philosophy, personality, or clientele that this creative dance teacher does. Simply put, the competition thinks that they can re-create someone else’s success by doing what they do. But it doesn’t work that way. Instead, they need to think creatively and establish programs that are unique to the characteristics of their school. That’s how to become a leader rather than a follower.

The simple message here is to do what you do best and forget about what anyone else is up to. But keep your eyes, ears, and mind open to what you see around you—take all that sensory and mental input and craft from it something distinctive. The world is your inspiration, and the diversity of that world is what we bring to you with this issue. Our focus on dance of various cultures is proof positive that there is more than one way to see the miraculous accomplishments that make up human life—and many ways to interpret them.

I believe that each of us follows a life path that is a personal journey, with the route embedded in our instinct. Having the ability to tap into that instinct can be the difference between success and failure. Know that you are a unique individual with something special to offer this world, both in dance and in life.

Feel free to add your thoughts in the comment box (below)–Rhee

By Rhee Gold

There are many successful school owners across North America. Some are making an impressive paycheck each week. Many others are just squeezing by.

Often, we’re comfortable within the classroom but we tend to feel a little “on-edge” when it comes to collecting tuition or other fees owed by our clientele. Some school owners don’t want to create “waves” that could result in losing a student. Others are simply too shy. Or, deep down they don’t want to be perceived as “only after the money.” The result? A lot of school owners end their season with clients who have large balances and who sometimes make the decision that dance lessons aren’t a bill that they have to worry about.

Remember show business is two words. Never neglect the business side.  ~Melanie Hedden-Perron, Rising Star Performing Arts, Waterdown, Ontario

The following is based on a true story . . .

You’ve come to mid-season with three of your students’ accounts are several months overdue. You know the parents are having a hard time financially. The child loves to dance and is very talented. You think to yourself: I don’t want to pressure anyone, so I’ll let it go a little while longer and I’ll hope for the best.

The next month ends with the same three accounts past due. But the amount has doubled. Each set of parents now owes for costumes, a convention fee that you laid out already, and the tights the children needed for class. You know this financial situation isn’t good for you or the families that owe the balance. Still you feel a little shy to make a phone call…you’re so nice and, of course, you don’t want to pressure anyone. You send the bills and, again, hope for the best.

No one from the school does follow-up on the bills (and neither does the parent). The next month-end, all the balances are still due and getting out of control. Finally, you get up the courage to make personal phone calls to the parents. After all it’s now a couple thousand dollars and you know you’re going to need that money to get through the summer.

The first call goes well. The dad answers and explains that he wasn’t aware. He apologizes and lets you know that he’s sending a check on Monday. You think, “That went well.” And now you have the confidence to make the next two calls.

The second call, your student answers the phone. You ask for her mom and she responds, “Hold on. I’ll get her!” The child comes back and tells you her mom is in the shower, but you overheard them talking in the background. You hang up knowing that the parent is trying to avoid you. She knows why you’re calling and she doesn’t have a solution.

The third call is everything you feared — and more. A very defensive and stressed-out mom turns the situation into your fault. Before long she starts to yell, “You charge too much for your lessons.” Then she adds, “Do you think you should be making so much money off of little children?” Followed by (the real kicker), “Why don’t you get a real job, like the rest of us!”

Meanwhile, you’re thinking to yourself, “I have sacrificed, my children have sacrificed and I’m working twenty-four/seven!” “What the bleep is this woman talking about?” Not only that, but you’ve given her child lots of extra time working on her solo, letting her use the studio to rehearse, offering her extra ballet classes and tons of other stuff! You’re hurt, the blood is boiling and you end up losing it with this mom. Things get out of control and one of you abruptly hangs up on the other.

You’re stressed out and you can’t get her comments out of your mind for days!

The next week the child doesn’t show up for class. You’re insecure about the whole situation, so you don’t call to find out what’s going on. Again, you hope for the best.

The next week you send another bill and wonder if the kid is ever coming back. The Mom finally calls the studio to tell your secretary that her daughter isn’t returning to your school and she adds, “You’re going to have to take me to court if you want your tuition, costume money, convention fees, etc.”

The balance due is well over a thousand dollars. Plus, a big chunk of the costume, convention, supplies, etc., is money you laid out for the child: It’s not just the lessons! Now you have to re-choreograph all the pieces that the child was in; now you have to get a lawyer or go to a collection agency to get your money back; and there’s this innocent little girl out there who wants to dance but can’t because her mom is irresponsible and both of the adults in the situation lost their cool.  Although you do have a right to collect your tuition and the mom knew what the financial commitment was when she registered her child, the situation is still a mess for everyone.

If you go through this kind of situation every year, for several years, there will come a time when you’re going to feel burn-out, unappreciated and not so enthusiastic about owning a school! 

How do you fix it?

1) Start with confidence. Believe that you have a right to make a living at what you do. Know that you work just as hard, if not harder than the nine-to-five “normal” person does!

2) Avoid avoidance! When a parent’s account is overdue, it’s better for them (and for you) to address the circumstance long before that balance gets out of hand.

3) Mail or email a professional bill the week before tuition is due. Don’t hand them out to your students. Half of those statements (or notices) never make it home. Most will land in the bottom of a smelly dance bag and no one ever sees them again.

4) Create school policies related to late tuition or balance dues and then stick to your policy.  Never allow a late account become more than two months overdue. If it happens without any previous arrangement between the parent and your school, someone from the school must call the parent to request that the student does not return to class until the balance is paid in full. This policy may seem harsh, but it would be the same for karate or pre-school, etc. Dance training is no different.

5) Don’t “front” your students by paying workshop or convention fees, competition fees, costumes, dance supplies, etc. Be organized and create a due date for all payments. That date should be one month prior to the event or the time you’re ordering costumes, etc. It then becomes policy that you don’t register the child for the event, or order the child’s costume until the parent has paid the appropriate fee. No questions asked.

6) All balance dues for the entire season must be paid in full before distribution of the costumes for the year-end performance or recital. You explain the “books are closed” for the season the day after the show and your accountant turns all balances due over to a collection agency.

I like to use the analogy that nobody goes into McDonald’s, orders a Big Mac, then tells the cashier they will pay for it next time they come in. The same should be true for dance lessons. Have a tuition deadline and stick to it! ~Mary Beth Dawson, Dance Etc., Kinston NC

We invite you to share your thoughts below –Rhee

See Rhee Gold share his passion for teaching dance in this special keynote address at the 2009 DanceLife Teacher Conference presented to more 600 dance teachers and school owners from across the world. His words are thought-provoking, humorous, and refreshing as he reinforces all the reasons we have chosen to become dance educators in the first place. Viewers will feel rejuvenated as they listen to Gold explain why we’ve chosen the “greatest profession in the world!”

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Feature Articles
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 Schools With Staying Power – A Charleston Tradition by Jennifer Kaplan
 Giving Back- Dancers for All by Steve Sucato
 Why Modern Matters by Bonner Odell
 Three Billys, One Master by Darrah Carr
 Essential Evans by Bill Evans
 The Voice of Experience

 
Hi Rhee,
A parent signed her kid up for a 4:00 p.m. jazz class for 5- to 8-year-olds. We didn’t have enough children to run the class, so the secretary asked the parents if the children could move to the 4:45 p.m. jazz class and told me that all three moms said yes. I sent an email confirming the change before winter break, since we were ordering costumes. No one contacted me to say they were not interested in the change, so I ordered the costumes. After the break the class met, and one mom claimed her daughter left in tears and hated it (which didn’t happen because I was there to see how it went), and she wants a refund for her costume.

The woman claims that she had said that they would try the class but it isn’t working, so she wants a refund. I told her I was there and no one was crying, nor did anyone say that the class was not going to work when they were asked to make the change. She then went on about how driving home later was a traffic issue and her daughter can’t get her homework done. So I told her that the costume was already ordered and paid for. She signed a form that said “No refunds,” but she is complaining that the change in class is the issue.

I offered to ask the students’ parents if the class could move to an earlier time, but she said that wouldn’t work. Then I suggested that her daughter be a helper in the class and that the student teacher could spend some extra time with the girl so she would feel more comfortable, and she said it wasn’t going to work. She thanked me for all the suggestions but still wants a refund for her daughter’s costume. I don’t know what more to say to her. Can you help me? —Joan

Hello Joan,
It is obvious that this mom doesn’t want to abide by your policy on refunds, which you’ve made clear to her. My usual reaction to this kind of situation would be to explain that the costume payment has already been sent to the manufacturer and the only option is to mail the costume to the child when it arrives. However, in this case, the mom registered her daughter for a class on a certain day and time and you changed that commitment. You don’t have any confirmation in writing or verbally that this mom had agreed to the change, which could put you in a bind legally. I’m sure, if an attorney asked her why she wants a refund, her response would be that you made a change in the class time that does not work for her or her daughter.

For me, the mess of fighting the mom would not be worth the cost of the costume. I would try telling her that you’ll send the costume to her when it arrives, but if she argues, I would give her a refund and put the incident behind me. Then I would create a form that notifies parents of any changes in times or days of classes and states that in signing the form, the parents agree to the change.

We all learn through experience and this is one of those lessons you won’t forget. Good luck. —Rhee

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Dear Rhee, 
I am in negotiations to purchase a dance studio where I have been employed for six years. I am nervous in this economy and feel their asking price is way too high. I have read articles in your magazine about being able to pay for your business purchase in three to five years. I would need to apply to take over the lease and there are many needed repairs. When purchasing the business, should income generated remain in the business account, or should the previous owners get to keep it? I don’t have the financial stability to support the business through the summer months, and the changeover would occur during the summer.

I also am curious about what is reasonable regarding a non-compete clause. The current owner has no desire to open another studio but wishes to continue to teach at various nursery school, churches, and YMCA-type programs. I feel that this is a conflict to the operation of a business I would be purchasing. —Concerned, Confused, and Eager

Dear Concerned,
I am not sure that you are in the financial place to purchase this business, especially if you think the asking price is too high and you don’t have the funds to get through the summer months. I also sense that you don’t trust the current owner and that you think she is trying to take advantage of you. Whether or not your perception is correct, that is not a good way to start these negotiations.

With that said, if I were planning to purchase a school and needed to get through the summer months, I would come up with a way to generate income during that time. My reasons would be twofold: to sustain the business through the summer and to increase fall enrollment by offering summer activities or classes that would bring in new students.

When you purchase a business, it’s not typical to receive the cash assets (cash in the business account), unless such a transfer is specified in the sales agreement.

As for the non-compete agreement, I would definitely put one in place that specifies that the former owner could not open a school or teach for another school within a certain time period and distance. However, I would not try to keep the teacher from working in places like nursery schools because her students would have to move on (perhaps to your school) if they want to continue with dance. If you maintain a good relationship with the previous owner, I would think that she would recommend your school to the children’s parents. As for the YMCA, church programs, or other options, you could include a clause that allows her to teach in those venues for a specified number of hours or if they are distant enough from your school.

Pursue professional legal advice and hire an accountant to help you evaluate this business and to offer you advice on the negotiations, value of the business, and any other concerns. Regarding the asking price being too high, you need to understand that the current owner has built this business and she is selling you her investment in time, money, and energy to make it what it is. You are purchasing her current student base as well as her goodwill within the community and among her clientele. Sometimes the value of the business isn’t measured only in the asking price; it also takes into account the potential for future income.

The school’s continued success also depends on the new owner being creative and attentive to what the clientele needs. You must make this purchase because you are enthusiastic about building the business and with the understanding that you, not the previous owner, will be responsible for its future. I wish you good luck! —Rhee

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Hi Rhee,
I do a bunhead contest for all my ballet classes for 6-year-olds and up. If they wear a bun for 10 classes, they get a small prize like a tattoo or button. I’ve done this for the past six years.

Recently, a new student who has short hair went home crying, and her mom called to complain about the contest. What do I say to her? It’s not a short-hair contest, it’s ballet class. I want to encourage buns and pulled-back hair and the kids love the contest. Also, I don’t believe in giving everyone a prize just to be fair. Thanks! —Raquel

Hello Raquel,
I agree that students should wear their hair in a bun for ballet class; after all, that is one of the ways they learn the discipline of ballet, not to mention the lesson of respect. But in my mind, it should be a policy, not something students get rewarded for.

I also agree that it’s not good to give every child a prize just to be fair. So if you are going to have a contest, it should be something that every child can participate in. Your contest excludes children who have short hair, and you’ve already seen the kind of problems that creates. Hope that helps. —Rhee

In today’s nonstop world, doing too much seems to have become the norm. And it’s easy to get so caught up in the whirlwind that you don’t notice that you’re stretched too thin. For me, that realization came at the start of last summer. My to-do lists were so long that just looking at them made me feel stressed. I was working at a mile-a-minute pace to get everything done, which took the joy out of the process and didn’t give me enough time to appreciate the successes.

Until that point, I had accepted every speaking job that came my way, which had become every-weekend happenings. Because I consider each engagement an opportunity to spread the word, it seemed impossible to turn any of them down. But with the travel involved, many one-day jobs would turn into four-day commitments. That left only three days a week for everything else, and it simply wasn’t enough.

While dealing with one of those stressful days, I came across an article that I had written a few years before, called “ ‘No’ Is a Beautiful Word” (Goldrush, October 2006), and decided it was time to practice what I preach! I started to turn down bookings for the first time. Another decision I made was to hold the DanceLife Teacher Conference every other year. When I announced it at the last conference, I felt like a big weight had been lifted from my shoulders. I knew I was back in control of my life.

Many well-intentioned friends and supporters told me they didn’t think I was making the right choice. They said, “Someone else will grab your clientele,” or “If you take that much time between events, you could be forgotten.” Those comments increased my anxiety and made me wonder if I had made the right decision.

But when I came back from the conference and didn’t have to immediately start planning one for 2010, I felt great. The decision gave me the chance to focus on the other things on my plate, along with some much-needed free time. I was enjoying my work again, so I considered the strategy a success.

Since then I have used the time I would have spent planning the next conference to build a new website for Dance Studio Life and create new concepts for DanceLifeTV.com. I am experimenting with the new wave of social networking, and I have learned how to use tools like Facebook and Twitter to help my businesses. In the last few months I have thrived, because there is nothing more exciting to me than learning.

So why am I writing about this? To give you the message that I believe you should follow your instinct. We all have supporters with good intentions who might see our choices as the wrong ones, but they’re not dancing in our shoes. I encourage all of you to listen to your heart and base your decisions on what you know to be true for yourself.

By the way, last month my twin brother, Rennie, and I created a seminar for July 2010 that will take place at our family school. I promoted it on my new websites and social networking pages and it was sold out in 72 hours! I am not worried about being forgotten anymore. How cool is that?

Mignon Furman’s summer teacher intensive

Regular readers of Dance Studio Life have come to look for Mignon Furman’s “2 Tips for Teachers” department in every issue. Teachers who want more of Furman’s hard-won wisdom on ballet education have an option this summer: the Teachers Intensive 2010 at Purchase College SUNY.

The program at the Purchase campus, in New York City’s northern suburbs, runs from July 28 to August 2 and is presented by the American Academy of Ballet, which Furman founded and directs. Attendees must be older than 18 and involved in teaching ballet. There’s no registration deadline.

The program’s emphasis is nuts-and-bolts classroom work rather than theory. “I believe that teaching is a practical art that needs a practical approach—whether to a new class of 5-year-olds or to teenagers with stars in their eyes who have other options for their energy,” Furman explains in the program’s brochure.

The classes focus on such topics as classical variation as adapted for young students; postural alignment, turnout, and placement, including transfer of weight; the art and anatomy of port de bras and use of the upper body; and combinations suitable for various ages.

Attendees also will be able to familiarize themselves with the Performance Awards, Furman’s program for student development. “The basic concept is that all students—not only ‘stars’—need acknowledgement for their endeavors, an opportunity to perform a solo dance, and a stimulus to progress,” the program’s brochure explains. Awards ceremonies—at which every child gets a medal and certificate—are held as students, who start at age 5 or 6, advance through the program’s 12 levels.

In addition to getting special instruction in the Performance Awards program, teachers attending the intensive will be able to observe coaching classes for students and a Performance Awards session in which the students dance for an audience.
The faculty, in addition to Furman, includes:

• John Byrne, former artistic director of the Royal Academy of Dance in London.
• Olga Dvorovenko, who teaches the Studio Company of American Ballet Theatre.
• Rhee Gold, publisher of Dance Studio Life and motivational speaker.
• Brian Loftus, former director of dance for the Arts Educational School in London.
• Pamela McCray, a teacher in Virginia and a judge for the American Academy of Ballet Performance Awards.
• Merle Sepel, director of the Academy of Dance in Santa Ana, California, and artistic director of American Pacific Ballet Company.
• Violette Verdy, a former principal dancer with New York City Ballet and now a teacher at Indiana University in Bloomington. She joins Furman, Sepel, and Loftus on a panel for a Q&A session on August 1.

Attendance for one or two days involves a fee of $130 per day for affiliates of the Academy of American Ballet—which costs $40 a year—and $150 for non-affiliates. For those attending for three or more days, the fee is $110 for affiliates and $130 for non-affiliates. Teachers’ fees are reduced by 50 percent if five or more of their students attend the American Academy of Ballet’s Summer School of Excellence from June 27 to August 8. Observation of Summer School of Excellence classes costs $60 per day for affiliates and $70 for non-affiliates. The cost of materials—such as CDs, DVDS, and notes—is not included, though these also are cheaper for affiliates.

A limited number of rooms at a reduced rate of $155 per night, including breakfast, have been reserved at the Hilton Rye Town, a 10-minute drive from campus. Also, some double-occupancy dorm rooms are available for $50 per night (for those sharing a room) or $60 otherwise.

For more information, contact Mignon Furman at the American Academy of Ballet, 250 West 90th Street #3A, New York, NY 10024; 212.787.9500; office@american-academy-of-ballet; or american-academy-of-ballet.com.

Last Saturday, DLTV went to the Gold School to shoot some of the baby classes. I decided to take some still
pics of some of the youngest children . . . this is one that I couldn’t resist sharing. Enjoy–Rhee

By Rhee Gold
 
Dance Studio Life readers sound off on the meaning of this common term for dance teachers

When I raised the question “What is a ‘Dolly Dinkle’ dance teacher?” on our website several months ago, little did I know what a response I would get. Apparently the term means different things to different people, and readers spoke their minds emphatically. In its more generic use, it refers to the owner of a small, neighborhood school, often one with primitive facilities (low ceilings and tile or concrete floors, perhaps). But for some people the term has a negative connotation, signifying a poorly trained teacher who has no qualifications to teach others; for others who perceive it more positively, a Dolly Dinkle school has humble origins but is often run by a teacher with high standards and great drive and passion. Emotions run high in this debate, and it affords us an interesting look at personal biases in the context of the labels we use for others.

It all began with a conversation I had with a teacher friend of mine, who had trained with me at my mother’s school in Randolph, MA, some 40-odd years ago. She referred to another teacher in her town as a “Dolly Dinkle” teacher. All my life I’ve heard the term but I had never asked anyone what they meant by it—but this time I did. My friend replied, “It’s someone who hangs out a shingle and opens a school in her basement.” That didn’t sound too terrible to me. Then she added, “Who doesn’t have a degree in dance.” In a condescending tone of voice she finished her description with “Do you know that this teacher has no secretary? She actually collects the tuition and teaches her classes!”

Instantly I shot back with “Don’t you realize that you and I are the products of a Dolly Dinkle teacher?” I explained that she had just described my mother, our first teacher. When my mother began teaching, she hung up a shingle, taught in her basement, and had no degree in dance. She was the secretary and the janitor; she cleaned the mirrors, bathrooms, and floors and did all the other jobs that come with owning a school. My friend seemed very surprised at first, as if she thought I didn’t know what I was talking about, but she then realized that she had made a negative judgment about a teacher who was just like her own teacher. I think it made her do a bit of soul-searching.

My friend and I (and my brother) became dance teachers because my mother decided to pass on her passion for the art of dance in the only way she could afford to—with a shingle, a basement, and no support staff. More than 40 years later, my mother’s school is housed in a huge building, has a flourishing enrollment, a national reputation for producing professional dancers, and a successful recreational program, all under the direction of my brother Rennie. If my mother was a Dolly Dinkle dance teacher, I’m thinking we need more of them!

In response to my website posting, quite a few readers wrote in. Tracy Davenport of Performing Arts Centre, Inc., in St. Charles, MO, writes, “I had no idea ‘Dolly Dinkle’ was a universal term. This gal gets around! I have heard the term in reference to a stereotype of teachers who have had only a few years of training as a child or adult and then open a studio. They are not dedicated to the art form; teaching is just a business to them. These teachers are not continuing their own education, thereby passing on an education that leaves a lot to be desired.”

Several teachers say that based on my friend’s description they would qualify as Dolly Dinkles themselves. “Your description of Dolly Dinkle puts me right there,” writes Terrie Legein of Legein Dance Academy of Performing Arts in Coventry, RI. “I did the exact same thing 29 years ago. I think the only thing that sets us former ‘Dinkle girls’ apart from the rest is that we join an organization that can help us become better dance educators and work toward becoming the best we can in our field. I wouldn’t change a thing from my studio past—I think it’s what makes us better administrators and business owners.”

“I am a ‘Dolly Dinkle’ teacher and have been for 31 years,” writes Kathie Jamison Cote of Northern Lights Dance Arts in Maine. “I helped support our family of seven with studios in Florida for 16 years, and now that shingle hangs in three towns in Maine, where I continue to do my life’s work. [My parents] provided every opportunity for me to expand my knowledge as I was growing up in the remote state of Maine. Fortunately my teacher, Jheri McQuillan, recognized my passion for dance and mentored me with annual classes in New York City with some of the finest master teachers: Luigi, Gus Giordano, Danny Hoctor and the Caravan folks, Kit André, Melita Brock- Warner, Joey Puglisi, Frank Hatchett . . .” Commenting on the unfair judgment that is sometimes levied on teachers who do not have a degree in dance, Cote adds, “I share my passion, love, and knowledge lovingly with my dancers. They know their technique and terminology, and we are constantly questing to learn from those dancers and teachers, classes, videos, and books that set the high standards that the dance world enjoys.”

“I am one of those teachers as well,” writes Debbie Donaldson, artistic director of Dreams in Motion Performing and Fine Arts School in Gananoque, Ontario, Canada. “I had taken dance all my life; then when I had my three girls I started taking them to dance classes in the nearest city. I drove 45 minutes each way to watch them take a class for 45 minutes. At the end-of-the-year show, I sat there thinking, ‘I can do better than this,’ and my mother, who was sitting next to me, said, ‘You can do better than this.’ So the next year, with 17 students, I started a dance school in the basement of our house. Now, 22 years later, there are times when I feel I am not good enough, especially when I go into the [public] school system and [the teachers there] turn their heads the other way because I do not have a teaching degree. But my school has become a performing and fine arts school and a charitable organization. I love teaching dance and bringing the joy of the arts to this area. I belong to a dance teachers’ organization, and I do what I feel is right for my students. ‘Dolly Dinkle’ or ‘Debbie Dance’—that’s me and I am proud of it!”

Melanie Kirk-Stauffer, artistic director of Dance Theatre Northwest in University Place, WA, had never heard the name “Dolly Dinkle” before, but she can identify. “I started my school years ago in the basement of a nursing/retirement home in a donated space and in gratitude did numerous performances there. We still do several performances each year in senior-care facilities; it is a win–win for all. My school grew from nothing, and I guess I didn’t notice that much because I am so passionate about both dance and teaching.”

Suzanne Perdue of Dancers Edge in Marlborough, MA, writes to defend the argument that a “Dolly Dinkle” teacher is someone who should not be teaching dance. “They have had poor or no training, education, or performing experience when they start teaching, much like someone who decides to practice law without the necessary training. It doesn’t have to do with opening a studio in a basement or not having a secretary. Often it’s a student who says, ‘Hey, I can dance; I can do what a teacher does.’ Sometimes they have had no dance education beyond their own teachers (who also might have had no education beyond their own teachers); they don’t take classes or workshops to improve themselves or their studio; they put kids on pointe at age 8 or demonstrate a complete lack of understanding of what is developmentally appropriate for kids.”

She goes on to cite the example of a teacher with more than 20 years of experience who told a student preparing to take her first pointe class to “buy any pointe shoes and walk around in them during the summer. When the girl started classes in the fall, this teacher told her, she’d be on pointe. The girl was 10. She had had one year of ballet, one class per week. In her first class wearing the pointe shoes (after not dancing for three months), she dislocated her knee. I learned about this when she became my student the following year.” She mentions another teacher she knows who “studied with only one teacher and claimed she had no desire to do anything further in dance, including teacher workshops, but wanted to be a dance teacher. Never more than a beginning-level student, she became a dance teacher at age 14.”

So let’s make a proclamation that not all Dolly Dinkles are created equal. Excellent, dedicated teachers who enrich their students’ lives through dance and challenge themselves to learn and grow throughout their careers may start out in humble surroundings, but their “shingles” represent good training, passion for dance and children, and the desire to contribute to an art form. That’s a far cry from someone with the same roots who opens a school but lacks what it takes to shape a dancer—and a life. The next time you hear the term, or are tempted to call someone by it, consider what it might mean to them. Depending on the context, it could be an insult—or a compliment.

By Rhee Gold

What seems like a bad attitude might just be low self-esteem.

“Susie, you eat too much!” exclaims a young dance student’s mom. “Susie, you’re a pain in the butt!” screeches her older brother. “Susie, can you just be quiet for one minute!” yells her dad.

This is the language and message Susie has heard, day in and day out, for her first 10 years of life. As a result she has a big problem with self-esteem. In school she’s quiet and doesn’t smile very much because she’s afraid she’s not good enough or that someone is going to yell at her. At dance school Susie is intimidated too, but there she seems to pout all the time. Her teacher has no idea what Susie’s home situation is like, so she reads the pouting as evidence of a bad attitude. In reality Susie loves to come to dance school and looks up to her teacher; she just doesn’t know how to express those feelings because she has no confidence—a direct result of her upbringing.

Susie’s dance teacher gets frustrated with her pouting and tells her that with that attitude she will never be a dancer. Susie used to get so excited to go to dance school to escape from the negativity at home, but now she has another adult in her life who is tearing her down. Each week her dance teacher makes a snide remark that duplicates the atmosphere she has at home. She becomes even more intimidated, thinking that her dance teacher doesn’t like her. Even worse, she tells herself, “I stink at dance, too!” Before long she drops out of dance. Why go to dancing school to be berated when you can get that at home?

Children like Susie can be frustrating, but as dance teachers we must accept the responsibility that we will have a major influence on each child in our classroom. Understanding that responsibility means that we have an obligation to help build self-esteem and to encourage all children to be the best they can be.

Maybe Susie’s dance teacher could look at her and say something like, “Susie, I know you have a beautiful smile—let me see that smile right now!” or “Come on up to the front of the class, Susie. I want you to help me today.” With that sort of interaction the teacher can change Susie’s behavior; she can create a safe haven for this child that will allow her to come out of her shell. Susie might become a confident adult because her dance teacher made the choice to encourage, rather than to discourage, her.

With more than 3 million children filling classrooms in dance schools each week, teachers should count building self-esteem as equal in priority to teaching the dance curriculum. The following are some suggestions to help all teachers create a caring dance experience for every child.

●  Reward students. Offer praise or recognition when they accomplish a certain movement or when they seem to be giving their all in your classroom. Do all that you can to emphasize the positive things that they do, and don’t hound them with the negative.

●  Take your students’ emotions and feelings seriously. Don’t belittle them with phrases like “We’ve been working on this so long; I don’t understand why you don’t have it yet” or “You’ll never be a good dancer because you don’t try hard enough.”

●  Define policies clearly but allow breathing space for your students within those limits.

●  Be a good role model. Let children know you feel good about yourself and that you have a passion for teaching them. Sometimes it is good to let them know you make mistakes and that you learn from them.

●  Have reasonable expectations for your students. Realize that they need to learn the basics before they can accomplish the big stuff. Combining movement that they feel comfortable with and steps that are more challenging is a good way to balance your class. Always end the class with something that every student will feel good doing.

●  Discuss issues or problems without putting blame on a student’s character. Those who feel like they’re being attacked will go deeper into their shells rather than trying to come up with a solution.

●  Use positive comments like “Thank you, that was much better this time” or “You really impressed me this week.” Avoid criticisms like “Why can’t you keep up?” or “How many times have I told you?”

●  If your students compete, do not put them under pressure to win. Encourage them to be the best they can be and be satisfied with that. Never confront them with demeaning language if they do not perform well or if they don’t win what you had hoped they would. Use encouraging language so that they don’t feel that they’ve let you down. There will be plenty of time to work on the flaws when you get back to the classroom.

The Susies of the world create an opportunity for dance teachers to learn how to deal with various kinds of personalities, because all of us will deal with children who seem withdrawn, belligerent, disinterested, or frightened during our teaching careers. Before you leap to passing judgment on them, remember that there is much that dance teachers don’t know about their students. By challenging yourself to come up with a friendly way to deal with these often misunderstood children, they can leave your classroom with their self-esteem intact or even boosted, even if they have to go home to a bad situation. By creating the right atmosphere and using a nurturing approach, you can make dance class a refuge for children who have little else that’s positive in their lives.

Dear Rhee,
I am one of the lucky dance teachers with a husband who supports what I do. He has dinner waiting on the table when I come home and he takes on as much responsibility with our three children as I do. For years he has been encouraging me to buy a building for my school because he calls the rent that I pay “highway robbery.” Together we have been saving for three years to come up with a down payment for a piece of land that we know is a fantastic location for the dance school of our dreams. We are ready with a down payment, building plans, and the financing to make it a reality.

The problem is that I am not sure that I want to continue teaching dance. After having my school for 11 years, I feel burned out. I’m scared that if I build this building, I may never be able to get out. This doesn’t mean that I would stop teaching now, but paying rent makes me feel that I have an out when I’m ready. I really don’t see myself doing this for another 10 years. Probably I would teach for someone else, and then later I would like to go back to school.

The problem is that my husband is so obsessed with this building that I am nervous about telling him that I don’t think this is what I want to do. I am confused because this is what I wanted when I married my husband, but my priorities have changed. I’m afraid my husband is going to be disappointed or not support my wish to continue paying rent. What would you do? —Elaine
 
Hello Elaine,
Right about now, we have many readers who are thinking, “I will take her husband and the chance to build my own building any day!” But the reality is that you can’t move forward on building this school if you are feeling burned out before you ever lay the foundation.

I am a big one for going with your instinct, especially when you have to make a life decision like this. I’m sensing that yours is telling you that this is not the right move at this point in your life. If your husband has dinner waiting on the table and is so supportive of what you do, then I have a feeling that he will also support your decision not to move forward on this project.

Maybe it’s time for the two of you to decide whether there might be another business that you could go into together. Or maybe your burnout will not last and five years from now you’ll decide that building your school is something you want to do. Whatever the next chapter is, it sounds like you are very levelheaded and that you are extremely lucky to have the husband that you do. Go with your instinct and don’t be afraid to share your feelings with your husband. All the best to you. —Rhee

Note: This article was originally published in Dance Magazine, November 2001. To this day, I receive comments from teachers and male dancers about this piece. It is obviously a hot topic in the dance education field.

By Rhee Gold

Earlier this year, I was helping a dance-teacher friend prepare a few of her dancers for a title competition. The dancers were to be scored on a talent presentation as well as a judge’s interview. My job was to prepare each of the kids for the dreaded interview. This was not the first time I had done this; I have been part of more than a dozen mock interviews over the past couple of years.

The first couple of dancers–girls–went through the process smoothly. The third one was a 15-year-old boy who had trained with this particular teacher since the age of 3. I had seen him perform many times and I knew he was excellent. He’s the kind of kid who always stands out, not only because he is a strong technician but because he gives the audience that “I love what I do” feeling whenever he hits the stage.

He did very well with the first few questions, as I expected from such a personable kid. Then I said, “Tell me what your male friends think about your dancing.” All of a sudden there was silence. His confidence level went from one hundred to one. At first he started to ramble without really answering the question, so I asked it again. Within seconds, he was crying.

He started telling me that he didn’t want to go to school anymore because he was constantly being harassed and he was actually beaten up several times–all because he danced. He said his classmates–boys and girls alike–were always calling him a fag. He was dealing with this day in and day out, and it had obviously had a major emotional effect on him.

Instead of continuing with the interview, I gave him a pep talk and tried to explain that the kids who were making fun of him could be jealous, or didn’t comprehend how athletic dance really was. I encouraged him to keep dancing because I thought he had what it took to make it. We ended our time together with a laugh or two, but I could tell he was extremely troubled.

As I was driving home, I couldn’t get this kid out of my mind. I, too, had danced from age 3 on. I had no choice: My mother was my dance teacher and my father was in show business. And I had been through the same torment this kid was enduring. I can remember sneaking out the back door of my junior high school to avoid the bullies who would think nothing of giving me a punch or two and call me a fag every time they had the opportunity.

I remember one morning when I was walking to school: I arrived at the front door wearing a winter coat with a hood. One of the kids, who I knew was trouble, walked up to me and pulled my hood off my head to spit in my face as he called me a fag. Another time, I was walking home from school and the same kid picked up a huge two-by-four and whacked me in the stomach several times as he called me unprintable names.

When I got to high school the situation was worse; like the boy in the interview, I didn’t want to go to school either. But, through it all, there was never a question of whether I would continue dancing, because it was in my blood and I loved it. My issue was how I was going to keep myself from getting beaten up or from being brought down by the name-calling. Somehow, I managed.

When I was about 16, our family did an interview with the local newspaper. It was a story about the Gold family and how we all were into show business. Instead of being excited about my picture being in the paper, I was in fear that this article would be another opportunity to remind all the bullies that I danced. And it did. The article appeared, and so did an entirely new round of harassment.

I never talked to my parents about the situation; actually, I never discussed it with anyone for more than twenty years. I think I was embarrassed, and I didn’t want anyone to know about it. Why I was embarrassed I don’t know; it was just one of those things you push to the back of your mind. It was the interview with this boy that brought it all back to me–not just the memories, but the feelings as well.

You would think that the twenty-first century would bring a new perception of male dancers. They are everywhere, from Gap commercials to MTV, and they are portrayed in a very masculine way. So why are boys who dance still going through the persecution? I believe it’s the adults in the kid’s life who influence this kind of behavior or thinking. They are the ones I went to school with, and they still think that dancing is a “sissy” thing for guys to do. They pass their prejudices on to their children, creating an entirely new generation of kids who make fun of boys who dance.

Dance teachers and parents need to realize that their male dancers may be suffering through this torment; the kids may not bring it up because they are embarrassed, as I was. It might be a good thing to discuss at the studio or at home. It could be through rap sessions with all the dancers or one-on-one conversations with the boys. They need to know that they are not alone, that there are others who deal with the same issue. Just talking about it could make a world of difference. Another option might be for the parent and child to approach his teachers or school principal about the problem. In certain situations, counseling may be appropriate.

Often, dance teachers see young male dancers who show enormous potential and love dancing but who quit at the age of 12 or 13. My guess is that it’s because they cannot take the abuse. I wonder–how many great dancers have we lost in this way?

Hard as it may be, I encourage young male dancers to stick it out. I have no regrets; I think it was the harassment that motivated me to become what I am today. Now I realize it was a unique motivation for me. I went on to perform all over the country and even became Mr. Dance of America in 1982. Today I direct one of the largest dance production companies in the world; I am a past president of Dance Masters of America; I serve as a motivational speaker for dance educators; and I write for Dance Magazine. Not bad for a kid who could have given it all up just to stop the torment.

By the way, the last time I saw the kid who spit in my face and hit me with the two-by-four, he was working at the local gas station.

Dear Rhee I am pooped and feel like quitting this business. I first started 17 years ago because my two girls needed a ballet studio to go to and there were none in the area. My youngest daughter graduated four years ago and now is graduating college. She shows no interest in taking over the studio and I guess I have lost my love for it because I think she wants to move on and get a job out in the world for the first time.I have been through a lot this past year: a lawsuit with a studio neighbor (which we won); starting a company for the dedicated students; taking a trip to Jamaica with 125 people; presenting the May show in a theater instead of in a high school; and hiring two grads and offering benefits for the first time. I am still teaching 36 classes a week and putting in around 75 hours a week. It seems the studio is growing faster than I can keep up with, and I am exhausted with trying to keep it organized like my customers are used to. I am seriously considering selling it all and walking away. I am 52 and have been in business for 17 years, and not one year has been calm. This is a really tough job and I am growing weary of it all. Am I getting too old or what? I feel so overwhelmed and down. Help, please, Rhee.—Bonnie  Hi Bonnie, I’m sorry you feel the way you do. You mentioned that you started the school because you wanted your daughters to have classical ballet training. It sounds like you expected one or both of your daughters to take over the school or become part of the business someday; perhaps part of your frustration is due to the fact that they don’t want to do that. It’s not unusual. I’ve seen many dance teachers lose their steam when their children grow up and move on to find their own niche in the world. I think my mom was frustrated with the same thing at times. My brother, Rennie, and I had our own aspirations, and my mother found herself running a large school alone. I think she always expected that we would take over or become her partners. What’s funny is that Rennie did end up with the school many years later, but first he needed to do what he wanted to with his life. If you think that this is part of your frustration, then it may be time for a change. You need to do what’s going to make you happy. With all the changes you’ve made and the hours you work, you have a right to be exhausted, frustrated, and insecure about how you’re going to continue to manage it all. You have no choice but to get through this season. Then it may be time to reevaluate. Could it be time to take in a business partner to take on some of the responsibility? Could it be time to cut out some of the activities or put a halt to any new projects? Or, as you said, could it be time to sell the business? You need a clear head to make the right decision. Although I don’t regret selling my business and changing my life, I do wish that I hadn’t been so emotional and I regret that I wasn’t more business minded in my decision. Think it out, and then think it out again before you do anything drastic. You are not too old—you’re overwhelmed! But the good thing is that your business is growing, which is a sign of a successful leader. Obviously you’ve been doing something right. Now you have to look for the good things in your school and your life while you figure out how to use your success to make your future more enjoyable. Make a list of all the school-related things you love to do, and then make a list of what you don’t like or want to do. Once you know what those things are, you may have a better idea of how to head into the future. Remember, change is a part of life. Sometimes it feels hard (to say the least), but once it happens we often find ourselves wondering why we didn’t do it long ago. I hope this helps, and I wish you all the best.

 Get the Word Out!

Dancestudiolife.com is happy to announce that it is setting up a home, DSL Dance Wire, for all dance-related news. Send us your press releases about company performances, conferences, seminars, and master classes; new programs and products; significant awards and accomplishments; and other news of widespread interest.  

Please note that we can’t commit to running every release we receive, and we reserve the right to edit any that we do use. Email your news to David@rheegold.com and include email and phone contact information so we can follow up if we have questions.

If you send photos, please provide the photographer’s name (if known) and some basic information that identifies who is pictured and what the event is.

We look forward to receiving your news and sharing it with the dance community. Thanks! Rhee

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More from Rhee Gold Company

Hi Rhee,

I’m a new school owner about to enter my second season. Last year we competed in three dance competitions and a national competition last summer. The problem is that most of my entries didn’t score very well because I have a slew of beginners.

Each time we went to a competition, I lost at least one student to various schools from my area that competed in the same competitions we did. Next year, I want to do more competitions, but I don’t want to lose students to the schools who have been competing for years. Should I hire outside choreographers or maybe bring in someone to coach my kids?

Dear Marjorie,

Don’t take this the wrong way, but honesty is my best policy . . . what the heck are you doing competing in the first place? It’s one thing to go to observe a competition to see what’s going on or taking your students to see a competition to inspire them, but there is no way your students are ready to actually compete with the schools who’ve been competing for years. In my opinion it takes 5-10 years before students are prepared for the rigors of competition.

You need to rethink your goal of opening a school for the purpose of competing and forget about winning. Your goal should be to teach beginner students how to dance. As I always say, competition is only a part of what we do, not all we do.

Slow down, forget about competition for now, and figure out how to build your business. Remember advanced dancers don’t just walk in the door. You build them slowly from basic movement to a more advanced level each year. This process takes time.

If you don’t change your goal to something like attracting preschool students or teaching simply the basics, I’m afraid you’re going to continue to lose students. Opening a new school should be motivated by your passion to offer every child the opportunity to experience the wonderful world of dance, and not to win trophies. —Rhee

Creating policies and sticking to them is risky but right

By Rhee Gold

As I travel the country presenting my Project Motivate seminars, I’ve discovered a trend. It’s a growing disconnect between what’s said and what’s done. The frustration that arises among teachers and school owners stems from students and parents who feel that they don’t have to abide by the policies or rules set forth by their dance school, that they, or their situations, are exceptions to the rules.

Sandra Waite is a school owner and teacher with a large group of intensive dancers who are involved in local performances and competitions. Her students go through a professional audition process, and then they receive a handbook, which includes all the policies pertaining to participation in the program. In an effort to keep the lines of communication open and experience organized, Ms. Waite hosts a meeting with her intensive dancers and their parents to go over every aspect of the handbook. It covers all expenses and due dates for tuition, and explains the time commitment required. All intensive dancers agree not to miss more than three rehearsals or classes during the season and are required to be at every performance. Ms. Waite’s handouts explain that dedication and discipline are the keys to a successful experience. After going over all the information,  Ms. Waite encourages her students and their parents to ask questions to better understand the responsibilities of both the child and parent. At the end of the meeting Sandra explains that she would prefer the dancers did not register for the program unless they agree to all the policies and commitments. She asks parents and the students to sign a document that confirms that they agree to the requirements.

All went well for the first month of rehearsals and classes but then Ms. Waite received a call from a parent of one of her best dancers. She said, “My family will be leaving for vacation and so my daughter will be out for more than a week.” The parent admitted that, yes, her daughter would miss all classes and rehearsals, including a session with a choreographer      Ms. Waite was bringing from out of town.      Ms. Waite reminded the parent about the meeting, the policies, the handbook and their understanding that the parent and the child had made a serious commitment to the program and to the other dancers in her group. “There are exceptions to every rule and sometimes you just have to accept that,” responded the parent. She added, “I’ll pull my daughter from your school if you don’t make an exception for her.” Ms. Waite pointed out the child’s responsibility to the other children in the group, to which the parent replied, “I’m not concerned with the other students. My own family is my priority.”

Sandra saw that she had two options: to follow through with her policies, which stated that missing more than three rehearsals or classes would result in removal from the program, or to allow the child to miss classes and rehearsals and to justify to others why she had excused the student with no repercussions.

Ms. Waite chose option two. She decided that she didn’t want to lose the student. After all, the dancer was one of the most talented in the group and she didn’t want to lose the monthly income from the tuition.

During the child’s missed week, she was absent from a costume fitting, four classes, and two rehearsals. When other dancers and parents asked Sandra about the missing child, she explained that she had excused her for the week; a total contradiction to the policies of participation. The other members of the group and their parents became progressively more disgruntled and began to discuss their views in the school waiting room. Some of them had missed family functions and other personal activities that conflicted with dance and they had taken their commitment seriously. The negativity concerning the subject spread like wildfire. By the end of the week, two more dancers were missing from the choreography session, and others started to miss classes. But Sandra’s hands were tied; she couldn’t say or do anything. She had diminished her power to enforce the policies when she made the exception and even worse she allowed the parent to pressure her into violating her own agreement with the group.

The situation continued to worsen; spotty attendance and commitment became roadblocks that affected rehearsals, choreography, and the overall morale of her entire intensive program. As the season wore on, Ms. Waite found herself setting choreography with only half of her dancers in attendance. She would then have to go over the new choreography at the following rehearsal for those who had missed. By the time her students were scheduled for their first performance, the group was far behind where it should have been. Everyone was stressed out. Most rehearsals had been dedicated to catching up, rather than focused on cleaning the choreography.

Sandra put the blame for her dilemma on her students and their parents, saying, “They’re not the same as they once were.” She contemplated whether to discontinue the intensive program. After all, her dancers didn’t seem to want to dedicate the time needed to create a solid program. She wanted to work with dancers who wanted to be the best they could be. Sandra never realized that she had created her own problem when she began making exceptions to her policies.

When first confronted by a student’s parent demanding exceptions, Ms. Waite should have stood up for her policies and she might not have landed in such a powerless position. Instead of worrying about losing one of her best dancers and the monthly tuition, she should have enforced the rules, explaining that everyone had to make choices. This one was to go on vacation and give up a place in the intensive program or to honor the commitment both dancer and parent had made. Whether or not the child continued at the school wasn’t the issue. Setting an example would’ve meant that all her other dancers and their parents knew that policies were to be taken seriously. Attendance would not have diminished; there wouldn’t have been gossip or hard feelings, and the end result would’ve been much better. By the end of the stress-filled season, Ms. Waite lost five students from her intensive program, including the one who had gone on vacation.

I’m not pretending that choices are easy or without risk. But as educators and school   owners, we must have the confidence to stick by our policies, without regard to whether or not we might lose a student. The negativity generated by not respecting our own rules will almost always backfire on many fronts because word travels far beyond the school waiting room. Be strong enough to stick to your beliefs, policies, and respect your understanding of what it takes to have a successful school. Resist being intimidated by parents who are actually setting the wrong example for their own children. Trust your knowledge and stick to your policies. In the end you’ll be glad you did—that’s why you made them in the first place.

When I do my seminars, I always ask, “How many of you were the best dancer in your class?” In groups as large as 500, only one or two people raise their hands, and sometimes no one does.

This tells me something that I think is really important for dance educators to know. Most of the time, it is not our best students who move on to become the pro dancer or teacher. Often, the best take their natural talent for granted and never feel the passion that burns in every committed dancer.

Instead, it turns out to be the little dancer in the second row who struggles with her turnout and never hits a real passé who someday takes the Broadway stage by storm or becomes the awesome teacher whom you take pride in having trained.

Look for and appreciate the little dancer in the second row that may not be as strong as the others—but boy, does she have the passion. Grab her by the hand, bring her to the front of the classroom, and make her day. It could be the moment that gives her the confidence to become you!

Feel free to share this post with you dance teacher friends–Rhee

Could it be that our life is the greatest piece of choreography that we’ll ever create? The movement happens to be the lives we lead; the difference we make; the smiles we bring; the children we inspire and the legacy we leave. Our life is that choreographic masterpiece that we work a lifetime to create ~Rhee Gold

Some dance people on Facebook post that they are going to kick butt at a competition. I wonder if they are missing the point? Are they passing the “kick butt” mentality on to their students and parents who will be disappointed if they don’t end up kicking butt? Instead should we express how excited we are to see other …dancers do their thing? We need to understand that dance is a gift, not a tool to beat others? ~Rhee Gold

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Feature Articles
Higher Ed Voice | The Hip Hop Project
Ballet Scene | Ballet in the Big City by McKenna Karnes and Melanie Eccles
As the Dance Teacher Turns by Julie Holt Lucia
Computerized Choreography by Gina McGalliard
Too Much Too Soon by Melissa Hoffman and Debbie Werbrouck
Goodbye Indiana, Hello, Rome! by Debbie Werbrouck
All Together Now by Jennifer Kaplan
Students With Something Extra by Steve Sucato
Culture of Positivity by Sophia Emigh

Advice for dance teachers

Dear Rhee,
At the start of last year I hired a well-respected ballet teacher. She is a good teacher who is well prepared for her classes and I have noticed a big difference in my students’ technical skills. They are taking their ballet classes seriously, wearing the proper attire, with their hair in a bun, all of which I hoped for when I hired this teacher.

My problem is that she thinks the other genres of dance we offer are not as respectable as her ballet classes. She is always running overtime, making the students late for other classes. When another teacher asked her to end on time, she said, “These kids don’t need a jazz class; they need the real dance training that they are getting in my ballet classes.” I respect her opinion, but she makes comments like this in front of the students and their parents, which I consider demeaning to my faculty members and to the many styles of dance we offer.

I asked her to end her classes on time and refrain from making negative comments about other forms of dance. She said I should appreciate the fact that she is giving my students and me more than their money’s worth. I explained that the parents are paying for ballet, tap, and jazz and that I was cheating the students out of a full jazz and tap class. She responded that jazz and tap would not make a dancer but that ballet would, then stormed out of the room.

I appreciate the technical qualities that my students are gaining from this teacher, but the conflict in my mind is driving me crazy. Do I keep her and live with the fact that she dislikes what my school offers, replace her, or is there something else I can do? Thanks. —Sabrina

Dear Sabrina,
It sounds like this teacher has more going on in her head than you know. Maybe she lost out on jobs or performance opportunities to dancers who were not trained in ballet, or her own teachers may have told her that ballet was the only true form of dance. Regardless of the reason for her prejudice, she needs to respect the way your school runs and the curriculum or she needs to move on. Hopefully she will have the opportunity to see a performance or sit in on jazz or tap classes to better appreciate the students and qualified teachers who have passion for those forms of dance.

Have one more talk with her to say that refraining from making negative comments about any other dance forms is a condition of her continued employment with you. If she can’t abide by your request, then start looking for a new teacher.

Regarding the time issue, you could schedule a 15-minute window between her classes and the next. That would give her a reasonable window for overtime and still let the kids get to their full jazz and tap classes. I wish you all the best. —Rhee

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Dear Rhee,
I run a small school in a town with a population of 1,500. I chose the location because there were no dance studios within a 40-mile radius. For many years I have been pulling students from the surrounding towns, bringing my enrollment to 150. That number has allowed me to make a decent living, pay my rent, and employ a secretary and one teacher. The school is a four-days-a-week operation, giving me time to raise my children. Frankly, I loved my life.

Last fall two schools opened within five miles of my location. At first I concentrated on my own business and students. All went well for the first couple of months, and my enrollment was up by 10 percent.

Then one of the schools that opened got hold of my list of students. The owner has been contacting the parents of my students (on the phone and by mailing them postcards with coupons), offering them a two-month free trial at her school. She tells them that they will see a big difference in the training that she offers compared to my school. If they register with her after the trial, they will also receive a free summer session.

I have students who are taking classes from me one day and going to the other school for free lessons on other days. What is making her plan work so well is that she is offering her classes for my students on the days my school is closed, so my students are free to take them. One side of me thinks she is smart to do this and another side believes that this is completely unethical.

In speaking with some of the parents who are taking advantage of the free classes, I’ve learned that this school is very different from mine in terms of discipline and what it offers. There are no ballet classes and the students can wear whatever they want to class. The parents tell me that the kids are enjoying the classes and the teacher. They all mention that the kids love the hip-hop classes, which I do not offer. This school is also going to take its students to dance competitions, and I am not interested in becoming a competitive school.

Two of my students’ moms have told me that their children are not going to return to my school. They have chosen the new school because it is less expensive and the kids love the hip-hop classes and are looking forward to performing at competitions. I am devastated and can’t sleep because I fear that I am going to continue to lose my students. I can’t afford to offer free classes or summer programs, nor do I want to start bringing my students to competition. Do I get out before I lose my shirt, or do you have some suggestions on how to deal with this? —Small-Town Teacher

Dear Small-Town Teacher,
I am sorry to hear about your situation. I have to agree with you that this teacher’s behavior is unethical. No law prevents a teacher from opening a school, and I understand that people are free to operate their businesses anywhere they choose. But because you are in a small town, this teacher had to have known that her success would rely on pulling students from your school. If she didn’t know that when she opened, her actions indicate that she is well aware of it now. Targeting your students with offers of free classes is another indication that ethics don’t matter to her.

You have some decisions to make. Are you willing to invest more time in your school? I’m not talking about teaching more days; I mean spending time strategizing about how to take your business to a new level. Could you find a hip-hop teacher? Would you consider bringing some of your students to a dance competition? If the answer to any of these questions is yes, then I would stop losing sleep (I know it is easier said than done) and look at this as an opportunity to refresh your curriculum and learn how to stay one step ahead of the other school.

You’ve been at this a lot longer than the new school owner, so you have more loyalty and name recognition within your community than she has. Use those to your advantage by marketing how long you have been teaching the community’s children. Start to educate your clientele on the importance of the ballet training that you offer and the other school doesn’t. In addition to hip-hop, consider other curriculum that might add to your appeal. It could be anything from Zumba to lyrical or contemporary, as long as it is fresh and new to your clients. Some of what you try might not work, but the fact that you are expanding your offerings could be very enticing to your current and future clientele.

One thing is for sure: This teacher cannot afford to offer free classes for long and stay in business. My guess is that the “new kid on the block” appeal will wear off and that you will remain on top because of your longtime experience. Look at this as your kick in the butt to move on to new things and expand your horizons. Focus on the possibilities in front of you instead of worrying about the other school. Good luck! —Rhee

Words from our readers

More readers respond to “Dance Studio Lingo” by Diane Gudat, DSL, August 2009:

Here are a few we use at our studio:

Prostatot: 3-year-olds costumed in thigh-high fishnets, short-shorts, and crop tops and shake their butts to inappropriate hip-hop songs at competitions

Cha-no-no or cha-ne-ne (nay nay) turns: chaînés done in second position, or without spotting, or moving both arms at the same time
Denise Danzo
Danza Dance Academy
Castle Rock, CO

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Pas de bour prep: pas de bourrée that ends in fourth position pirouette preparation

Pas de bourr-no: a pas de bourrée where the dancers cross back, step open, and then cross front instead of sus-sous (fifth), second, sus-sous (fifth)

Extreme piqué: any piqué move where the dancer is as high in relevé as physically possible and on the straightest leg possible
Toni-Lynn Miles
Middlesex Dance Center
Durham, CT

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Devil-oppé: a painful extension of the leg
Atti-besque: an arabesque than never quite straightens
Pas de canard: step of the duck (a pas de chat done with flat feet)
Barbecued ribs: a protruding ribcage (courtesy of teacher Richard Munro)
Hula hips: an inadvertent circling of the hips in rond de jambe

I really enjoyed the whole list of terms—very amusing!

Name withheld by request

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Thank you for the article on Luigi. It was wonderful to see that Luigi and his professional students live by his motto of “Never stop moving.” It seems that most articles on Luigi reflect his life in the past. It was nice to see his life reflect what is happening now, because he really “never stops moving.”
Alisoun Price
Assistant to the Assistant Artistic Director|
Luigi’s Jazz Dance
New York, NY

We’d love to hear from you!
Send your comments to arisa@rheegold.com or mail them to Editor, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Letters may be printed in the magazine and posted on dancestudiolife.com.

Dance Parent 101
By Rhee Gold
Secrets of successful marketing for the private sector school owner

Yes, you’re the best! Does that make you a success?

Do you know four- to twelve-year-old children and their parents are your market? If you do, how do you draw this group to your studio?

Although there are some well-educated dance parents out there, they are certainly the minority. When enrolling children in dance class; most parents are in the novice category in the search for quality dance training. A huge majority understand a once-a-week dance lesson and a recital at the end of the year. They don’t know a whole lot about strong technique or turn-out, nor do they grasp the concept that their child could someday become a ballerina, professional dancer or a high score winner.

Actually, numerous parents would prefer their child didn’t pursue a serious dance curriculum. Many have a perception that their child can’t create a successful future as a dancer or teacher.

So you ask, “Does that mean I have to lower my standards?” Not at all! Continue to strive to make the best dancers possible. Just don’t flaunt it.

Consider this: A mom is looking through the newspaper for a dance school for her six-year-old daughter. There are several options. A variety of ads proclaim, “We’ve won more awards than any other school in the state!” Another exclaims, “We have the most professional faculty in the community.” The more serious ballet school writes, “Our students are performing with the San Francisco Ballet!” Granted, all are very good credentials—definitely accolades that the school owner should be proud of. But: are those ads really focused on the market that will attract the clientele who will make their school a financial success?

One school with a history of producing professional dancers, choreographers and numerous awards for decades also places an ad in the same newspaper. It features several smiling eight-year-old children at the ballet barre. Each is in a leotard and tights with huge smiles on their faces. Their ad tagline proclaims, “Step #1 Happy Dancers, Step #2 Motivating young minds to be the best they can be.” They simply include their website address, a telephone number and their registration dates. No “most professional.” No “we’re the best.” Nothing about winning the most awards or the professional ballet companies their dancers are performing with!

The novice dance mom glances at all her options and makes the decision to take her child to the school with the happy young dancers at the ballet barre, as do many of the moms (or dads) who are looking to register their child in dance class. Why? you ask.

• The happy school portrays itself as a fun place for children to be. A priority for most parents!
• Parents feel a bit intimidated by the extremely professional image of the other ads.
• The more professional or competitive schools look complicated and more expensive (even if they’re not).
• The happy school appears to be a neighborhood sort of place that welcomes all children, not simply those interested in serious training.

I am all for every teacher and school owner being as qualified and professional as they can be. However, I think a lot of excellent schools are actually scaring off potential clientele because they want to proclaim that they are the best! Even if you are the best (by a long shot), be humble and be smart by realizing that we need to get them in the door. Then we educate both the children and the parents to better understand what quality dance education is all about.

In Good Company

By Rhee Gold

Although I discourage using the word “lose,” it’s the best way to make my point. Some of the smartest and brightest people got that way from losing many of their battles. We learn from the losing process or by not getting what we want. It’s how we improve ourselves. When we don’t win or achieve the desired result, we go back to work, ultimately becoming better at what we do.

If you feel bad about losing, remember these events in the life of Abraham Lincoln:

• He failed in business in 1831.
• He was defeated for state legislator in 1832.
• He tried another business in ‘33. It failed.
• His fiancée died in ‘35.
• He had a nervous breakdown in ‘36.
• In 1843 he ran for Congress and was defeated.
• He ran again in ‘48 and was defeated again.
• He tried running for the Senate in ‘55. He lost.
• The next year he ran for vice president and lost.
• In ‘59 he ran for the Senate again and was defeated.
• In 1860, the man who signed his name Lincoln was elected the 16th president of the United States.

When we go to a dance competition without walking out as the big winner, do we try to come up with excuses? Maybe we tell ourselves and our students that the reason we didn’t do so well was because the “competition was fixed” or that the “judges didn’t know what they were doing?” Maybe we say, “That school knew the judges, that’s why they did so well and we didn’t.” Another one of those excuses, “That school spent so much money in entry fees, the director of the competition told the judges to score them high!” In reality, if a competition director told a panel of judges who had to win, they wouldn’t be in business too long. The dance community is small and people talk; most judges wouldn’t put up with being told who should win and who shouldn’t.

On the other hand, if we are always the big winner, how would we get better at what we do? Teachers and students who are exposed to stronger talent or choreography are really being given the opportunity to see how far they can go. Going home from the competition without the trophy, but excited to make yourself and your students better is really getting the most from the experience and your entry fees.

We can’t allow ourselves to cultivate a generation of young people who believe winning is everything. I’ve encountered parents who have completely lost their cool because of the results of a competition, and I’ve had teachers who were my lifelong friends refuse to speak to me or yell at me after a competition because their students didn’t score as well as they had hoped. They’re not thinking about the values we emphasize in educating dancers—courage, or perseverance, or passion. They’re thinking only about winning.

What do we do about it? Lighten up.

Dance is a performing art form, not a sport. It isn’t one team or the other scoring so many runs or goals; it’s far more subjective than that. Its artistic and technical qualities are subject to the interpretation of judges—who, remember, are using their own judgment—and who   happen to be human beings with their own whims, preferences, and emotions.

A dress code lends a professional look to classes and sends the message to students and observers that the school’s staff takes the training they provide seriously. A dress code creates an added sense of discipline in the classroom and equality among the students. The focus stays on taking a good class rather than comparing dance wardrobes. Plus, baggy sweatshirts or sweatpants make it difficult to observe the dancers’ bodies well enough to offer the technical corrections needed to build strong dancers. Straight knees and proper body alignment are hard to see underneath layers of baggy clothing.

Another advantage to having a dress code is the additional profit for the school if it sells basics such as leotards and tights. If your school has one, say so in the brochure, on registration forms, and on the web site. But whether or not the school has a dress code, proper shoes should be required for all classes.

If your school has never had a dress code but you are considering implementing one, the place to start might be with the ballet classes. Often I hear teachers complain that their students don’t take ballet training seriously. If the teacher and students look like ballet dancers, they will probably take their classes more seriously.

There are legitimate reasons not to have a dress code. Teenage girls who are self-conscious about their bodies may feel inhibited in a leotard and tights; if they feel too uncomfortable, they may choose not to dance. And many boys struggle with our society’s negative stereotyping about males wearing tights. It’s OK to start the boys out in a pair of sweats and a solid-color T-shirt. However, once they move on to a more advanced level of training, they should be willing to wear a pair of black tights for ballet classes. Boys who take their dance training seriously need to understand the discipline of a dress code as well as its importance to their technical training. Those ages 10 and over should be encouraged to wear a dance belt.

Hip-hop and adult classes should be exempt from a dress code. Hip-hop dancers often come to the school expressing no interest in other dance forms, so a dress code might intimidate them. However, they frequently segue into other classes once they’ve been exposed to them, and they can be introduced to the idea of a dress code in those classes. Adults may feel the need to cover up more and variations in dress don’t distract them, so permissiveness in attire is generally the rule.

A little bit of rejuvenation for the dance teacher’s soul. Rhee Gold offers encouraging words to dance teachers who feel overwhelmed by their responsibilities.

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Rhee Gold suggests that dance teachers take a moment to acknowledge a job well done. This episode is a reminder that dance is our special gift and that this fact alone is something we all need to appreciate.

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Words from the publisher

I was first exposed to dance as a toddler during the 1960s, and at that time most private schools offered only ballet and tap, though some offered acrobatics as well. But by the late 1960s, jazz dance had begun to sweep the nation. Throughout the 1970s teachers flocked to intensives, conventions, and training schools to learn from jazz masters who were (and still are) known simply by their first names: Gus, Luigi, and Matt. Soon jazz classes became a staple at schools throughout the United States and the world. Looking back, I think dance people wanted more freedom to feel the music and the movement. Jazz was it!

During jazz dance’s early days, some teachers snubbed their noses at what they considered to be a fad. In their minds it wasn’t real dance. Some school owners called their programs “Modern Jazz,” thinking that name sounded more respectable. But the great masters and their protégés created solid techniques that instill a strong base in jazz dancers.

Now, some 40 years later, jazz dance is still evolving, and in my opinion it will be for a long time. The jazz revolution has led us to lyrical, hip-hop, and contemporary, all of which I have heard today’s teachers refer to as fads. I keep wondering, “Does a fad last 40 years?”

What’s funny about the whole thing is that the 21st century has also brought a resurgence of modern technique, which is now being taught in numerous schools across the country. Students are learning who Lester Horton, Martha Graham, and José Limón were and about the differences in their techniques. On So You Think You Can Dance, young dancers with dreams of going pro are learning Broadway dance, the cancan, samba, and cha-cha. Once upon a time, a ballet dancer would never cross the line into a modern-dance world, or vice versa. Today, world-famous ballet companies are presenting modern works and even hip-hop.

We are experiencing evolution while coming full circle at the same time. Those in our community who are determined to define a style or technique are having a hard time. The syllabuses can’t be written yet, and it could be that this period in dance history isn’t about coming up with the definitions. For now, maybe it’s about the art of expressing the emotions of life and the passion that is dance.

If we embrace the reality that dance is an art form that is literally on the move, developing in new incarnations while revisiting the so-called fads of previous generations, then we are living through one of the greatest periods in dance history. As artists and choreographers you have no boundaries; your role is to add your own flavor to this evolution. And how cool is that? Each of us contributes to the next 40-year “fad,” and I can’t wait to see what it will become.

 NEW! Studio Edition at The Gold School, Brockton, MA | July 23-25

 An intimate business and motivational seminar for dance school owners/teachers
Limited to 50 attendees (minimum age 18)

For the first time, Rennie and Rhee Gold join forces to bring the dance education field a unique inspirational experience. Rhee’s business and motivational seminars along with Rennie’s classroom and choreography concepts will bring attendees a continuing education experience like no other. Their passion for the art of dance and education is evident in all that they do.

Having grown up in a studio under the direction of their mom, Sherry Gold, and served as leaders in the dance community, Rennie and Rhee offer attendees unique perspectives about the business, the classroom, and the life!

Whether you want to generate more income, learn new strategies for 21^st-century marketing, become better organized, learn new teaching and choreography concepts, or simply get the inspiration you need, this seminar will change the way you look at your business and the life of a dance teacher . . . guaranteed!

Who should attend?

Curriculum for this Project Motivate seminar will be very much focused on the school owner who is also working within the classroom. It is not a seminar for assistant teachers or teachers who want to take many classes. The curriculum for the classroom is presented as demonstrations. Note: Please no late arrival or early departure. 

Project Motivate Curriculum

The Business

OBJECTIVES: Improve your enrollment and help you to generate more income and become a smarter business person.

Innovative 21^st-century marketing concepts include social networking, websites, e-zines, and a ton of sample print materials that will improve your studio’s image and your income.

You’ll discover new ways to improve student retention and organize your business, as well as the tools to analyze where YOU are really making a profit (and where you may not be).

Sample employee policies and contracts will be presented and discussed, along with tips to determine who on your staff is an employee and who is a subcontractor.

If it has to do with the business of owning a school, it will be touched on at this seminar.

Classroom & Choreography Live!

NEW! This concept will offer attendees the opportunity to view Rennie Gold in action with his students.

Two classroom demonstrations with different age groups (approximately 9-12 and 13-plus). His focus will be on building a dancer from the bottom up, both technically and emotionally. He’ll offer techniques for motivating students to be the best that they can be, while emphasizing that they can’t be satisfied with what they accomplished yesterday. Rennie will also share various warm-ups, progressions, combinations, and more.

Rennie will create a piece of choreography for a group of young dancers, demonstrating how to involve students in the creative process and how to generate a teamwork attitude. He’ll share secrets related to utilizing formations and patterns and eliminating the tricks!

All presentations will include a Q&A session.

Rhee Gold’s Motivational Seminars

Rhee Gold’s frank, revealing, and often humorous presentations have been inspiring dance educators worldwide for more than a decade. His presentations are designed to inspire you to become the best teacher, business person, and mentor you can be. Gold’s experience as the son of a school owner, student, teacher, choreographer, master teacher, industry leader, author, publisher, and the dance field’s first motivational speaker will leave you with a renewed sense of passion and confidence.

Area Hotels

Courtyard by Marriott, Stoughton, MA: 781.297.7000
Residence Inn by Marriott, Brockton, MA: 508.583.3600
Radisson-Brockton, Brockton, MA: 508.588.6300

Airports

Boston’s Logan International
T.F. Green Airport, Providence

Seminar Fee: $349.00

Includes: All three days, the Project Motivate manual, marketing samples, continental breakfast, lunch, and so much more! Note: The seminar is limited to the first 50 applicants on a first-come, first-served basis. We expect that it will sell out.

Registration

888.i.dance.9 (local: 508.285.6650), 9 to 5 EST weekdays.
Register today, space is limited!

Dear Rhee,

I’ve figured out that the business side of my dance school is more than I can take. When I read your magazine, I learn about teachers who are in the same place I am, but their issues seem to be different. It’s not listening to crabby parents that bothers me; I do well with them. And it doesn’t have to do with not making a living, because I have done very well. The hard part for me is having to deal with my employees.

I started my school because I love to dance and I wanted children to be in love with the art form too. Back then I was the only teacher, along with a student’s mom who acted as a secretary; together we ran the school for seven years. She is gone; it’s 20 years later and I have 400 students, 7 teachers, 2 secretaries, and some part-time employees who are supposed to help keep this school on track.

My employees bicker about who’s going to do what work and some have told me point blank, “That’s not part of my job description—have someone else do it!” Another big concern of mine is running a professional operation, which includes arriving at work on time. Day after day I find myself explaining to parents and kids that my secretary is going to be late or that class will start late because Miss So-and-So is stuck in traffic. This happens all the time, yet my concern for arriving on time is the first thing I discuss with all potential employees and the first topic addressed in our employee handbook. I reiterate my feelings in every meeting, but for some reason I can’t fix this one.

I am no longer upset because I know I have made my best effort to change things and I accept that it isn’t going to happen (short of firing everyone, and I’m not going there). After much contemplation, I’ve narrowed down my options to two. First (the one I like the most, but I’m not sure if I’m crazy) is to go back to where I started with myself and maybe one other teacher and a secretary. I want just one classroom (now I have three) and about 100 students. My other option is to close my school and seek employment at another school, where I will be an employee who arrives on time for my classes!

Have you ever heard of anyone who wanted to make their school smaller? If so, how did they go about doing it? Are there repercussions, other than maybe not making the same income? Any advice will help. Thanks in advance. 

One of the things I admire about your letter is the fact that you seem confident about what you want and what your options are, instead of harboring resentment toward the employees who have forced you to think about these options. You deserve a pat on the back for that!

With that said, your downsizing concept is probably a good one for you. You would have a lot of options. You already have the clientele to draw your reduced enrollment from. Not only that, but you would be free to decide which students or age levels or subjects you want to teach. For many school owners that’s a pipedream.

With a smaller operation you would eliminate the expense (and stress) of all those employees, which when balanced with one-fourth of the enrollment needs to be considered. But I’m sure the rent for one studio would be much less than for three. If you can pull this off and be financially comfortable, I say more power to you! You might just start a trend.

As for teaching for someone else, I have met many former school owners who now teach for others. They too found it difficult to deal with the business side but had the passion to continue to teach. And I have never met one who had regrets. Whatever your decision is, I have a feeling you will be a success. If you do downsize, please let us know—I know that our readers would be interested in your story. All the best to you. —Rhee

Feel free to comment . . .

Hi Rhee,
I have an interesting question for you. I am a former studio owner, now teaching again for others. Just yesterday the studio owner of one of the studios I teach at called and informed me that, due to financial reasons, she can no longer keep me on. I’m not an employee (she 1099′s me) but also I do not have a formal contract. Believe it or not, that’s not my question! I am the person who has taught all the comp pieces – I taught the classes and did the choreography. She intends on still bringing these dances to competition, has said she will give me full credit. But, I feel the choreography is mine and I don’t wish it used anymore. I am not there to see to it that the choreography is done correctly, etc., and don’t feel she should profit from this. Besides the obvious lesson learned for the future (!), do you know who is right in this? Can she use this choreography because she paid me to teach the classes? Or does the choreography belong to me?
~ Anonymous

Hello Anonymous,
Sorry you have to deal with this circumstance, but this is a good topic for discussion. My opinion is that a teacher is hired by the hour. If in that hour it is verbally or contractually agreed that part of the job description includes choreography for a performance, recital or competition, then the school owns the right to utilize the choreography . . . unless otherwise specified in an initial agreement or contract.

With that said, the choreographer (teacher) should always receive credit for her work . . . if she wants it .

Contracts which include a job description, choreography rights, etc. should be on the top of your priority list when you agree to teach somewhere else. Let this one go as a learning experience . . . a new door will open quickly and it will be a better one. Good luck—Rhee

Let’s see what our readers think? Feel free to comment.

They’re not second-class citizens – they’re your school’s future! 

By Rhee Gold 

Why are you such an advocate for the recreational dancer?
First off, I believe that dance is an art form and that every person, whether child or adult, can experience that unique feeling that dancing gives us, whether they can do 10 pirouettes or only 1. To me it’s that inner-gut thing we should be passing on, regardless of the skill level of the student. If we as teachers lose sight of the value of the recreational dancer and focus only on our best or most promising students, then I wonder if we’ve also lost sight of why we became dance educators in the first place.

Tell me more about that inner-gut thing.
It’s that feeling that takes over when we feel the music in our dancing or the sweat is pouring off us in class. It could happen when we see a piece of our own choreography or someone else’s. It’s like a light switch that turns on the passion. And yes, I believe everyone has it, even the 11- year-old with the size 13 feet! Unfortunately, some teachers think that switch flips on only with the advanced dancers.

What do you say to teachers or school owners who tell you, “I’ve paid my dues; I don’t want to teach the recreational kids anymore?”
Believe it or not, I respond with “Not a problem!” Then I ask them, “Who will you get into your school to give those recreational dancers what they need?” Be sure you have the best people in place; then feel free to teach whom you like. But if you have the less-talented or least ambitious teachers working with your recreational dancers, that’s what you’ll get back from those students.

What are the benefits of a recreational program, to the teacher and the students?
The recreational programs are often a school’s financial backbone. A solid base of once- or twice-a-week students who are not training at a discounted tuition (like many advanced dancers do) can make or break a school.

Advanced dancers must start somewhere, and a recreational class is the place. Some will improve or develop a passion and want to take on more classes; eventually they become your advanced dancers. If you have a weak recreational program and rely on getting your stronger students from other schools, you’ll often inherit the other schools’ headaches, too. Better to build your own dancers who’ve grown up in your school and understand your philosophy.

Watching those recreational dancers grow and become more accomplished is sometimes more rewarding than working with advanced dancers, because they truly feel a sense of joy when they accomplish something. Often the advanced dancers take what they have for granted.

How do you make sure you give your recreational students the same amount of attention as your advanced or competition students?
For me it’s a quality thing. Give them good teachers who can choreograph for them, people who know how to instill a solid foundation and how to make the kids look and feel good about themselves by the end-of-the-year performance.

I don’t like to let teenagers teach the recreational kids—often younger teachers want to create great dancers and they skip the basics, going right to the big stuff without realizing that their students can’t do the material. Then the teacher and the students become frustrated, which is not good for them or the business.

How can a teacher regain her love of teaching recreational dancers?
Sit in on your recreational and preschool classes and notice the joy on the kids’ faces when they learn a basic shuffle or a simple pas de bourrée. Know that the recreational student feels great just learning the basics, which is the same thing your advanced dancers feel when they accomplish the big stuff. One doesn’t have a better feeling than the other, so why should we not be as excited for the recreational dancer as we are for the advanced one? Each of us was a recreational or preschool student once. It’s a good thing our teachers saw our potential—otherwise we wouldn’t be where we are today. Go look for students like yourself in those recreational classes!

By Rhee Gold

If you’re a dancer who hits the competition circuit, you’ve noticed a trend: each year there are more and more solos at dance competitions. These soloists are dancers who have the guts to get onstage by themselves, are confident about their abilities, and aren’t afraid to accept the judges’ criticism. Most important, they are the dancers who are technically and emotionally ready for the experience. Or are they?

Twenty years ago, only a few deserving students from each studio danced solos. Today, though, just about everyone who wants to do one, does. So what’s wrong with that, you’re wondering?

Dancing a solo can be wonderful and motivational experience, but it can also be devastating. We all have seen dancers who lack confidence attempt their first solo, only to end up running offstage. Humiliation and embarrassment – two pretty nasty feelings to have as a result of doing something we’re supposed to love – take the place of the expected exhilaration and pride. In some cases, the disappointed dancer questions whether she wants to continue to dance. All this for a solo?

I’m Ready! (I Think)
You’re absolutely determined not to be embarrassed onstage, but how do you know when you’re ready to take on the challenge of a solo – and succeed?

Take a close, honest look at yourself and your dancing. You’re ready to solo when:

• you have made a serious commitment to yourself and to dance;
• you’re willing to go into the studio or your basement, on your own, to focus extra time on your solo;
• you are willing to take your solo apart count by count and make sure you know what’s up technically (where your arms are on every count, what the best angles are, and so on);
• you are willing to rehearse your solo full-out all the time in order to build stamina;
• you are technically ready.

OK, I Know I’m Ready—Now What?
When you finally get the opportunity to have that stage all to yourself, make sure that the audience and judges can see how much you love to dance. Focusing on the floor is a sign that you’re scared or lack confidence—look right at your audience and make them feel like they know you by the time your performance is over. If you are a true dancer, the satisfaction of an excellent performance will be all the motivation you need to work harder to get better and better. Don’t judge how you feel about your performance by the size of the trophy or the color of the medal.

Music Does Matter
Put that CD down! You are not going to use the most popular song of the year for your solo, no matter how much you love it and are dying to dance to it! Everyone will be using that song, and you don’t want to be the ninth dancer performing to it. Find something different, something you’ve never heard at a competition before. Go to your favorite music store or any other place that lets you listen to music, and spend time selecting the right piece of music for your personality.

If you’re always happy and have an outgoing personality, a somber song might not be the right choice for you. But a tune from a Broadway show might be perfect. Maybe you’re experiencing love for the first time; if so, you might want to choose a beautiful lyric song that expresses how you’re feeling. If you’re a little rebellious, something totally “off the wall” might be appropriate. Whatever you choose should reflect you. Feeling strongly connected to the music gives you the extra confidence you need for a great performance.

Less Is More
I always tell dancers to leave their audience (or judges) wanting more. I think one or two good solos is enough; dancers who do four or five solos start to score lower by the time they get to the third or fourth one. Why? Because if you’re overexposed, the judges will start to focus on your flaws. Better to give one or two excellent performances than to spread yourself out to the point where none of the solos are as strong as they could be.

Walk, Don’t Run
It’s hard to be patient when you see dancers who are less talented than you performing solos at every competition. But readiness is all, so put aside your ego, take a close look at your goals and motivations, and talk to your teachers. They can offer an objective assessment of whether you’re ready to solo. Trust their judgment, do what you know you can do, and get ready for a positive performing experience!

Advice for dance teachers

Hi Rhee,
Do you think it is OK for studio teachers to be Facebook friends with students? I know that technology is changing our world, but I wonder if this is crossing boundaries between teachers being seen as respected authority figures or buddies. —Maryann

Hello Maryann,
Good question. Facebook can be a valuable tool for both business networking and keeping up with friends and family. I don’t see “friending” students as a problem; instead, I think the key is what you post on your page. If you open your page to your students, it’s important to be aware of the image it presents to them. That means no comments about going out drinking, complaints about being depressed or dissatisfied with your job, or intimate details of your personal relationships. Nor should you post pictures that could be interpreted as indicators of irresponsible behavior. For those reasons, some of your students won’t want to friend you because they won’t want you to see what they’re up to when they’re not at the studio.

However, if you do want to allow your students access to your page, what you post should be what you are willing to present to the world. You can post comments, links, and photos with a positive perspective and limit more personal content to private forms of interaction.

Reconnecting with my former students—and having them connect with each other—through Facebook has proven to be a great perk. Before social networking, I would never have had the opportunity to stay in touch with this special group. Seeing who has gotten married, who is dancing professionally, and how others have become successful in other ways can be very rewarding—but sometimes it does make me feel old!

If you are still nervous about your students friending you, create a separate page for your studio business, where you can interact with students and their parents. Then limit access to your personal page to family and friends. Good luck! —Rhee

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Hi Rhee,
I have an office staff member who is often abrasive and rude. Although she is very loving and caring, she struggles with tact when approaching people, mostly when she is stressed or frustrated. I have spoken to her about how to say things and addressed my full office staff on this topic, but I do not think she sees this as her issue; she tends to blame others when called on it. Now staff members are coming to me about her. I am not sure what to do. Do I send her to an “effective communication” course or just let her go? She has been with me for four years and has always gotten the job done. Please let me know what you think. Thanks. —Karen

Hello Karen,
This is not an easy problem to solve, but I do like your idea of sending her to a communication course. She might resist the idea, but you could make her continued employment conditional on attending it and showing changes in her behavior. If she won’t agree to taking the course or things don’t change, then you should replace her.

Some employees don’t recognize that they lack people skills or that others perceive them differently than they do themselves. Sometimes, when otherwise good workers lack communication skills, it is best to give them assignments that don’t require them to interact with the clientele; for example, you might have a smart, efficient, loyal bookkeeper who never answers the phone or deals with parents or teachers. I’m not sure what your employee’s job description is or how important her people skills are to your success, but you might consider letting her do her thing behind the scenes. With that said, a business owner will be a success only if her employees are happy. If this person’s job description is to communicate with the staff, then she’s just not the right person for the job.

Many school owners believe that what goes on in the classroom is what matters most to their success, and I can’t argue the value of that. But I also believe that employees can make all the difference to a school. The office staff and those who answer emails or the phone are the ones who make the first impression, long before potential clients have the chance to see what happens in the classroom. And current clients often become loyal (and stay for years) if they feel respected and appreciated. If they don’t, you might lose a big percentage of your clientele each season, and then what goes on in the classroom doesn’t matter anymore.
Good luck! —Rhee

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Dear Rhee,
I own a studio in a small town. I am writing for any advice you can offer in regard to our upcoming recital, because we are at the point where we are selling out our shows. If we don’t change how we do things this year, we probably won’t have enough seats for all of our parents. The theater can seat 1,200 per show, and we have been lucky enough to grow in size a little each year. We have pre-sales for the parents, who are allowed to get up to four tickets at that time. Then, if they need additional tickets, they can purchase them when general sales begin to the public.

I am also concerned with the length of the show. Last year’s was almost 2 1/2 hours, and this year we have more dances, so I might need to shorten the running time. I was considering dividing the classes into two shows (one on Saturday and one on Sunday) and having the older students perform at both. If we split the performances, I worry about trying to keep all the children in one family in the same show, for the parents’ sake.

Booking this theater for multiple weekends is not an option. People have suggested that I simply add another performance, but if the show gets longer every year, that won’t help matters. I realize that I can’t make everyone happy, but I want to find a solution that won’t upset everyone either. Thanks! —Penny

Hello Penny,
I think the best solution is to do two shows. You may not be able to accommodate all the families who have more than one child performing, but you might be surprised at how many you can get into one show. Start by making a list of the families with more than one child, and refer to it as you create each show. Begin by placing siblings in the same show (if possible) and build from there. If you can’t accommodate all of them, you could offer the parents two complimentary tickets to the second show, and in most cases they will be happy with that.

My brother’s school does two shows and can put most siblings into the same performance. Most of the problems lie with the advanced dancers, who usually do end up in both shows, but those parents are used to having their children do lots of performing. I wish you all the best. —Rhee

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Hello Rhee,
I moved the sofa out of my observation room, which is now a clutter-free “Zen” space and allows more parents to stand and peek in on class. I’ve never liked the idea of parents “camping out,” and the sofa seemed to encourage that. Parents allowed kids to jump on it like a trampoline, crawl all over it with their shoes on (not little ones, but 8- to 10-year-old brothers). Some used it as a diaper-changing station, and one mom regularly came early and stretched out for a nap while other parents stood.

Here’s what has happened now that the sofa is gone. Last night, the mom who liked to take naps brought in a lawn chair! It’s not like there is nowhere to sit in our studio—we have eight straight-back chairs near the front door so that dancers can sit while waiting for rides.

Should I ignore this? It’s just one mom. Confront it? This problem will spread like swine flu. If you think I should confront it, do you have any suggestions for how to do it? Maybe post a small sign explaining that this space needs to remain open to allow more parents to observe their children? Offer more comfortable seating near the front door? I have 5-foot benches I could put out there, but it would only take one large grandma plopping down on one end to turn it into a teeter-totter that’s not balanced, and she’ll get hurt.

I respect you as the Guru of Sticky Studio Situations. —Kelly

Hello Kelly,
It’s very interesting (and really hysterical) that parents need to be taught how to act in public places. Do not replace the couch. Allowing all parents to stand and observe their child in class without having to worry about waking a sleeping mom is your priority. I’ve always said that the waiting room or lobby should be clean and welcoming but kind of like the airport, where people can relax for a short period of time but can’t lie down or make themselves at home.

I do like the idea of placing a sign that says the space is to be left open to allow more parents to observe and having seating available near the front door.

All the best to you. —Rhee

Words from the publisher

By Rhee Gold

I’ve got a couple of things on my mind this month. First, in October I journeyed to Melbourne, Victoria, Australia, to serve as a keynote speaker for the Australian Teachers of Dance. A few days before I left on my 26-hour flight, the reality that I would be speaking on the other side of the world hit me. I felt a little unsure of myself, which, when it comes to public speaking, has not happened to me in a long time.

Questions were running through my mind: What if these teachers’ issues were different from ours in the States? What if they had a totally different mind-set? After all, they live half a world away from the dance teachers I know. That doubt continued as I started my speech. I sensed a feeling of apprehension in the room—on my part, certainly, but also from the attendees. They looked serious; after all, they had no idea what I was all about.

My keynote was titled “Celebrate the Life!” and I just went for it. As a speaker, you develop an awareness of your audience’s body language, clues that indicate whether you’re winning over the crowd. You know you’ve got it made when, one by one, the attendees sit back in their chairs and take a deep breath. I could see on their faces that their brains were moving a mile a minute. It was so cool to watch them do that, then smile and nod in agreement, which just added fuel to my fire.

As my speech was winding down, I once again realized that all dance teachers, no matter where in the world they are from, feel the same respect for their calling. We all have “dance blood” flowing through our veins; we’ve all experienced the same joys and hardships. No more “what if” worries were running through my mind. After my talk, all the attendees I spoke to asked the same question: “How do you know so much about us?”

On another note, I have been on a committee of dance teachers from New England whose goal was to establish the Rosemarie DeLutis Boyden Memorial Fund, in memory of someone who was a dear friend to so many in our dance community. As dance teachers do, we decided to put on a show.

During the last few weeks before the event, we dealt with worries about ticket sales, planning a rehearsal schedule, choosing backdrops and lighting. It was a unique experience to be working together on the same show, and the sense of comfort that comes with sharing responsibility with others added to the fun.

The show was excellent, with the audience literally dancing in the aisles—what an awesome tribute to Rosie! And it proved that dance educators who join together to make something happen can do just about anything—and have a great time doing it. “Everything’s Coming Up Rosie” is over, but everyone involved will remember Rosie and the experience with a big smile. That’s what it’s all about!

Advice for dance teachers

Dear Rhee, 
After returning from a dance convention, I feel old and out of place. When I was a kid, we went to dance conventions to learn from the masters who would inspire us with their movement, words of wisdom, and sometimes personal attention. I still carry with me today a few words of encouragement from one of them.

Yesterday my students and I returned from what I’ll call a two-day party, also known as a convention. There was no personal touch; the teachers entered through a kitchen door for classes and were escorted out that same door after class by bodyguards who kept the dancers and the teachers at bay. There were loud music and lights flashing in a dark room that reminded me of a barroom atmosphere, and the teacher was maybe 22 years old. He was on one of the reality TV shows—and that’s what made him a master? But he couldn’t count music and had no inclination to actually teach the students; instead he kept telling them to watch him do the combination over and over.

I get that things have changed, but my students paid a couple hundred dollars to learn new techniques and what they got was a two-day show of 20-somethings who loved themselves a whole lot more than the students in the classrooms. Do we really need all the lights and screaming and yelling by both the teachers and the students at a dance convention? And what happened to ballet classes? If the conventions are not offering them, how do we convince our students of the importance of training in ballet? 

I thought I was bringing my students to take from masters who would teach them something to improve their technique and their understanding of the art form, and also inspire them. That is not what they got. What happened to mature teachers with credentials as professional teachers or choreographers? How does a 22-year-old with no teaching experience become a master teacher? 

Although I felt completely out of place, several hundred students were slammed into ballrooms with no room to actually move. That indicates to me that this is what the future is all about, and I am so sad to see what it’s all turned into.

Any words of advice for a teacher who will not be taking her students to a convention anytime soon? —Old Lady 

Dear Old Lady, 
I too grew up attending dance conventions that would be considered old-fashioned by today’s standards, and like you, I was inspired by the master teachers who passed on their experience and wealth of knowledge to students who were hungry to learn. I remember taking from Luigi, Gus Giordano, Beverly Fletcher, Frank Hatchett, Robert Joffrey—and the list goes on and on. As for the atmosphere, it was a big old ballroom, fully lit with no flashing lights or hype. It was simple; you went to a convention to take class, to learn, and to go back to your hometown school with new knowledge.

In defense of today’s conventions, the dance world is evolving in ways that make it far different than it was 25 or 30 years ago, when most students’ goals were to become the best dancers they could be and maybe land on Broadway or in Los Angeles as professionals. But the reality TV shows you mention have produced a different mind-set in younger dancers now. Today, young dancers hope to be on one of those shows, and they strive to make that happen any way they can. Attending these conventions and having the chance to see those who have succeeded at their goal is what they want to do. Maybe, if the reality shows had been around in our day, we would have done the same thing. My brother Rennie and I were on Star Search, and I look at that show as the predecessor of what we see today.

Don’t give up on exposing your students to the dance conventions. Instead, become a little more particular with your choices. There are still many events where the masters of today teach and where you will find ballet classes. Look for the conventions that reflect your values and those you want to instill in your students.

Also, instead of thinking that conventions have changed so much, look at them as offering many more options. There are conventions that focus on hip-hop, complete tap events, and everything in between. The diversity in conventions of today reflects the range of opportunities that dancers have in the new dance world. We wanted more opportunities in our day; today’s options are what we were dreaming of. Though different than we might have imagined, they are there, and the passion for dance is growing like never before. All the best to you. —Rhee

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Dear Rhee,
I am struggling with my moral duties as a studio owner. I feel like I try to do the right thing, but this generation of “need it now” students doesn’t understand. Of course, when some of these people don’t get what they want, what do they do? They walk. It seems like it gets harder and harder to stay true to teaching dance the correct way vs having to satisfy every crazy request to be on pointe, every kid (or mom) who wants to move up when they clearly aren’t ready, etc. I even dread picking competition kids because if they don’t make the team, they travel up the road until they do. Everyone says to be patient and my hard work will pay off in the end and my reputation will take over. It just seems like with this generation it will never happen. Thank you for any advice you can give. —Sarah 

Hi Sarah, 
Everyone who reads this column has felt your frustration at one point. What becomes important is staying true to your values. Let go of the worry that some students (or parents) will choose to leave because you have values that don’t match theirs. You know what is right for your students and you’re doing it, instead of simply giving them or their parents whatever they want.

You are teaching more than dance; you are educating children about life. And one of those lessons is simple: You can’t move to step #2 before you’ve accomplished step #1. The fact that you have a standard—that hard work and physical readiness are what get you into a pointe class—teaches children that effort, dedication, and focus pay off.

No, not every parent or student will appreciate that you have integrity, and it will be frustrating at times—but you can go to bed at night knowing you are doing the right thing. That is more valuable than becoming rich by teaching dance. A reputation for honesty, quality, and integrity will pay off in the long run. You need to stick to your beliefs and forget about what others are doing. Be different in your area by becoming the teacher known for doing it right, and you will attract the clientele that is looking for that. I wish you all the best. —Rhee 

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Hi Rhee,
I have owned a dance studio for 36 years, which has had a competition team for 34 years. At a workshop this summer, several teachers mentioned that in addition to class fees, they charge a monthly fee for their team members to offset time spent on paperwork, extra rehearsals, costume ordering, master workshops, faculty time, hotel rooms, and gas mileage (all pertaining to competitions). My faculty and I tossed around ideas—perhaps a small yearly fee as opposed to monthly? I have never charged a fee and would love your input on this. —Tory  

Hello Tory,
In my travels I have heard of a couple of options. First is to charge a one-time separate fee that covers the studio’s costs to participate. This could be charged at the beginning of the season in one lump sum or over the first few months. The fees seem to range from $50 to $100 per dancer. The other option is to add a surcharge to the actual entry fees; for example, a $25 fee might be increased to $28.

The key to making this work is to be honest with your clientele. Once you rattle off the list of expenses you described above, there will be little for the parents to question. It is when we charge fees without explanation that problems arise. In most cases, the parents appreciate the honesty. Good luck! —Rhee

Advice for dance teachers

Dear Rhee,
I recently discovered that one of my students, Joanne (not her real name), who is 15 and has been with me since she was 3, is having issues with drug addiction. This young lady is talented, sweet, and focused when she is at my school. I have taken her under my wing because her parents have had their own problems with drugs and alcohol. Sometimes I see her sitting outside, waiting for her ride home, and it never comes. Her parents forget to pick her up, so I give her a ride. A couple of times she has cried all the way home because she’s embarrassed. I assure her that I don’t judge her by her parents’ actions and that I will be there for her if she needs anything.

I had no idea, but Joanne was also taking drugs, which she was stealing from her parents, and she went into a drug rehabilitation center for 30 days. I visited her right away and I would have been there every day, but the center limited her visitors at first.

Joanne’s predicament threw a monkey wrench into several pieces of competition choreography. We fixed the choreography and, in some cases, replaced Joanne with another dancer. Joanne’s classmates at the school have been very supportive and have sent her cards. I am moved by their kindness and sensitivity. They amaze me with their nonjudgmental attitude toward Joanne, but I know it is because she is such a good kid; you can’t help but love her despite her problems.

Then I received an email from a parent who told me that she would not bring her daughter back to my school next year if I accepted Joanne back in the fall. She says she thinks Joanne is a bad influence on the other children and doesn’t want her daughter in the same room with her. Throughout her email she degrades Joanne, calling her a loser, and I cannot write what she wrote about Joanne’s parents. I felt hatred in her correspondence.

I don’t think Joanne is a loser; she is a victim of her circumstances, and I feel that she needs the support and normalcy that dance gives her. Her studio family is much more supportive of her than her parents are. She needs dance in her life.

I feel an obligation to do what I can to help her, but the mom who sent me the email tells me she is not alone in her belief that Joanne should not return to my school. There is no way I am going to give up on Joanne. Can you help me with some advice on how to respond to this mom and the other parents who feel the same way? —Anonymous

Dear Anonymous,
You are to be commended for being what I think is a true teacher—one who does not judge her students and who is there when a student needs help and support. Some teachers, out of fear of losing students, would give up on the child because of the risk involved. I admire your determination to do what is best for Joanne.

I always tell dance teachers that they have much more responsibility than teaching steps or enlisting new students. The most important gifts they can offer to their students are self-esteem and a sense of belonging. If Joanne develops a passion for dance, I believe it will have more influence on her future than all the negative stuff that her parents are throwing her way. Every child is in your classroom for a reason, and regardless of what happens in Joanne’s future, I am sure that she will never forget the dance teacher who believed in her.

So what to do about the email? Call the parents together for a meeting to discuss how you feel. Explain that you wouldn’t give up on their children if they found themselves in the same circumstance. I have a feeling that the mom who sent you the email will realize that her attitude is wrong and that the majority of the other parents will stand behind you. If she does pull her child from your school, then it will be her loss—and her child’s. It sounds to me like your school is the perfect place for young people to grow up in and that you are a special teacher.

Another thought: Look through your roster of students to see if one of them has a parent who is a counselor or psychologist who might offer you some advice on dealing with the parents. Better yet, maybe you could ask that person to come to your meeting to support you and offer input.

Bravo to you for setting an example for all of us. —Rhee

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Dear Rhee,
I am wondering what your opinion is on newspaper advertising for registration. I have done very little print advertising in the past, but some of my competitors are taking full-page ads in the local newspaper and I am not sure if I should be doing the same thing. Do you think they are gaining students whom I will never get because I don’t advertise in the newspaper? —Laura

Hello Laura,
Good question! Recently I did a survey of dance school owners to determine their advertising strategies. It turns out that more than 67 percent of respondents are advertising in local newspapers. The only form of marketing that came in higher is a website, at a little more than 71 percent, but many of those with websites are also doing newspaper advertising.

In my research I have discovered that it takes 13 views of a logo for it to sink into a reader’s mind. So my strategy would not be to run full-page ads, because the majority of school owners could not afford 13 or more ads of that size. Instead, I would go with a series of smaller ads, run more often. I think ads that are one-sixth or one-quarter page, running over a series of weeks, would be more effective than a couple of full-page ads.

A few more statistics from our survey: Almost 53 percent of school owners are marketing with direct mail and postcards, but Internet marketing is on the rise. Email blasts are up 15 percent from our last survey at almost 26 percent, and social networking sites (which didn’t even show up in past surveys) are at almost 13 percent.

The bottom line for all school owners is to experiment to determine what works best for their business. Always ask those who inquire about your school how they heard about you to determine which marketing strategies are working best for you.

By the way, my brother’s school is still doing newspaper advertising, but his ads are much smaller than they were several years ago and he has gradually incorporated more Internet marketing to cover all the bases. If you can afford it, I think diversity in marketing is the key. Good luck! —Rhee

 

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Dear Rhee,
I am currently employed at the school I grew up at. Three years ago, I was offered $12 per hour for my classes and I was thrilled to be paid for doing something that I love. Now I am headed into my fourth year of teaching and I am taking on more classes and some of the office work (which I am not paid for). After four years, I feel that I should receive a raise, but the subject never comes up from the school owner.

When I started, the owner taught about 30 hours a week and I did about 5 hours myself. Now I am doing the 30 and she is doing about 5 hours. Frankly, I feel like I am being taken advantage of, but I don’t have the guts to speak up. This school has become my entire life, but I can’t afford to move out of my parents’ house, nor do I have time to take on another job. What are your thoughts? —Michelle

Hello Michelle,
I’m not sure why the owner of the school has not taken it upon herself to discuss your compensation, especially after you have been working at the same rate for three years. She may believe that the increased hours she has given you are compensation enough, but that is just a guess on my part.          

Obviously, you have the confidence and the passion to be a good teacher, otherwise you would not be handed more classes each year. It is time for you to grab on to that confidence and speak up to the school owner (in a kind way). Let her know how much you love what you do and that you are willing to take on whatever she needs from you, but also explain that you would like to be able to afford your own place and make a living by teaching for her.

Hopefully she will understand your position and appreciate that you are standing up for yourself. If not, you may have to do some thinking about whether this is the right place for you to be employed. I wish you good luck. —Rhee

Words from the publisher

By Rhee Gold

Many school owners are experiencing a bit of trepidation about how the economy might affect registration for the fall season. This year, the customer loyalty that you’ve developed will be more important than ever. If you can hang on to most of last year’s enrollment (and hopefully add to it), the upcoming season should be a successful one. In all of the marketing research I have done, one message appears constantly: It is 10 times more expensive to get a new customer than to keep an existing one. So what can you do to encourage your current clientele to re-register this fall?

Establish a relationship with your clients that fosters loyalty. Parents will do all they can to include dance lessons in their family budget if they believe in you and your school, and if they believe that what you offer is good for their children. You might assume that if you are the best teacher you can be, customer loyalty will follow. You could be right, but there may be more to it. As hard as it is for dance teachers to understand, good training is not always at the forefront of the parents’ minds. What can be just as important —or even more so—to parents is having their children feel like they belong to something special.

This summer, consider sending thank-you cards to your students and their parents. Make them personal by writing them out and signing them yourself. Address them to the students; kids love to get mail, and the parents will be impressed that you made personal contact with their child. Thank them for being part of the studio “family” and let them know how much you look forward to seeing them in the fall. Take it one step further by mentioning something that you appreciate about each child in your note. And it’s not a bad idea to send birthday cards to students with summer birthdays.

An additional strategy is to take that personal contact a step further with a phone call. The phone is a personal and effective way to touch base with your clientele. The fact that you took the time to call impresses parents, and these phone chats allow you to gain a deeper understanding of what’s important to them.

Be sure to stay on your clientele’s minds by sending a couple of summer newsletters, either by mail or email. Include pictures (especially ones that have lots of students in them) and news about your students. Parents and kids will hang on to the newsletters, and each time they see one it will remind them of how much they love your school.

In this economy, saving dollars is a huge incentive in building loyalty. Think about offering last year’s students one class at no charge (in a dance form they do not already take). Not only will the parents appreciate the free class, but the students may decide to add the class to their curriculum, which could generate more income in the long run. Another great way to help the parents save money is to offer a free leotard or pair of shoes when they register.

Whatever your plan for maintaining customer loyalty might be, you can be sure that satisfied customers make for satisfied business owners. You owe it to yourself to keep your clients—and yourself—happy.

Dear Rhee,
I have a student who has a mischievous side that seems to come out when she is at my school and, from what I understand, at public school too. She does things like drop mean notes in the other students’ dance bags. Sometimes she calls them fat or ugly and is always just plain mean. She never signs her name to the notes, but we have determined that it is her because of the handwriting.

On the other hand, she is a model student in class and is always respectful of the teachers. I feel like I’m dealing with a Jekyll-and-Hyde personality. I’ve never run into anything like this before—it’s a scary situation!

My solution was to have my students leave their dance bags in the school office. Now they are receiving anonymous emails with basically the same messages they got in their dance bags. When the kids write back, they get a message that says, “Undeliverable; no such email address.” I feel like I need to speak to the student and her mom, but this mom volunteers to help with anything we need and is always praising the positive impact our school has on her daughter. I think she would be shocked to hear this about her daughter, and I don’t want to hurt her feelings. Please offer me some ideas on how to handle this. Thanks. —Frustrated Teacher

Dear Frustrated,
You are right that her feelings will be hurt, and she shouldn’t blame you. But don’t be surprised if she does get angry; as often happens when people get upsetting news, they “shoot the messenger.” Once she has time to process what she’s learned, I’ll bet that she will realize that her daughter, not you, is the problem and do what is necessary to get the girl the help she needs.

Remember that this child might have a lot of insecurities that have nothing to do with dance class or your school. This could be her way of telling the world about those insecurities. She is probably hoping to get caught because she needs help and this is the only way she knows how to get it.

Most likely this is a child who needs dance and the confidence that it can build. Do your best to let her know how much you appreciate how well she does in class and that you want the best for her. Believe it or not, I dealt with the “notes in the dance bag thing” myself, and the student who wrote those notes is now a professional dancer and choreographer who really has her “stuff” together. I hope that’s how this turns out for you. —Rhee

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Dear Rhee,
I’m curious about your opinion on opening a second school. Our school is completely filled and now we are turning away students. We can either open a second location or expand at the space we have right now, but I’m not sure which direction to go. Any suggestions would be appreciated. —Kaylynn

Hi Kaylynn,
This is a good problem to have! From a business perspective, I recommend expanding at the location that you already have. Although I know many school owners who have more than one location, some tell me that they have a hard time giving both equal attention. You will have more control managing a business that is all under one roof than you would have traveling from one location to the other.

Expense-wise, it would be cheaper to simply expand your current school. With two locations you need two of everything, from telephones to office staff to maintenance to equipment. It’s better to expand with lower overhead than to double your expenses. —Rhee

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Dear Rhee,
I started my studio at age 20 (10 years ago), and in that time the studio has expanded and I have gotten married. Over the past five years I have struggled with the studio, business, and family life. Knowing that my lease was up in five years, I have tried everything—delegating, not teaching as much, and being home at night, then still not being happy and going back to teaching full time on top of dealing with the business end. It’s an endless cycle.

Here we are five years later, and in May I have to sign a lease to continue if I want to. Then here comes the economy—enrollment has dropped a tad and my rent is well over $5,000 a month. I know that in order to keep paying my rent I’ll have to keep raising my tuition prices. So I think, “Move, downsize,” but I have done that already. Now I want to spend time on my house. But my family members say, “How can you let down 300 kids?” And my response is, “What about me? Can’t I spend my Saturday with my family like they can?” (And please keep in mind that there are 15 dance studios in my town.)

I can’t stop thinking about what will happen to the 300 kids that I will disappoint. My husband says I need to be happy and live for me. I am just afraid of what will happen afterward! Please tell me that you have some success stories on this issue. —Sheila

Dear Sheila,
It is admirable that you wonder what will happen to your students if you decide to close your school. However, with 15 other schools in the area, I have a feeling that your students will find a place that they can call their “dance home.” And maybe you can find yourself a teaching position at one of those schools that will offer you the personal time that you need.

School ownership can be very rewarding if you can manage a sense of normalcy, but when you feel overwhelmed or don’t have time to be with your family or work on your house, then it just might be too much. And that’s OK. An alternative to closing might be to hire additional staff to take on some of your responsibilities; however, if that would add a financial strain to the pressure you are already feeling, then don’t go in that direction.

I recently met a dance teacher who had owned a school for nine years but eventually found herself in the same place you’ve described. She closed her school, raised her kids, spent time living a “normal life,” and then opened a new school 10 years later. She managed to have it all and has a much larger school the second time around. I guess you could say that she had the best of both worlds, and so can you. Put yourself first—I think that’s a good thing! —Rhee

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Dear Rhee,
This is my 30th year of owning a school and I’ve loved every minute of it. Believe it or not, I have had the same office manager for the entire time that I’ve owned the school. She is part of the reason that I enjoy what I do so much—she’s always smiling, supportive, and looking out for my best interests. Last week she told me that she is moving out of the state to live with her daughter and grandchildren at the end of this season. Although I understand her decision, I feel like I will be lost without her. I fear that I will never have a person like her again. Where do I look for someone to replace her? And how will this new person be able to fill her shoes? —Joanne

Hi Joanne,
How lucky you are to have had the same studio manager for 30 years! Be thankful that she has lasted as long as she has—but you must understand that life changes constantly and this is her change (and yours). My suggestion is to look for a former student’s mom who knows the history of your school and is familiar with how your office manager does things. I don’t recommend hiring the parent of a current student, because that can turn into a conflict of interest.

Pull out your old roll books and look back at some of the moms who loved bringing their children to your school and who would feel nostalgic about returning to the source of such fond memories. They make the best office managers for dance schools.

You need to realize that you will not find a replica of your current studio manager, but in time you will discover that your new manager will bring something fresh to the office. It’s a good idea to bring the new person in to work with your current manager for a couple of weeks before the end of the season; that will give her a better understanding of the school and your needs. And be sure to let your longtime employee know how much you appreciate all that she has done for you. I wish you all good things in this transition. —Rhee

By the time you read this the November election will be behind us and we will have come to terms with what a new president means for this country. Along with the many truths that have surfaced during the arduous two years of the campaign is the evidence that ethical behavior is far more rare in the world than we’d like it to be.

Taking the high road—avoiding gossip and negativity, focusing on what you do best instead of what you think your competition does poorly, accepting the fact that diversity in an industry is the responsible way to meet a wide range of people’s needs—is a topic we’ve touched on often in the past, both in editorials and in the types of stories we run in Dance Studio Life. As a former dance teacher and school owner, Rhee faced the challenge coping with those who didn’t share his values. And we’re facing it now in the publishing world, as we see mounting evidence that a competitor is attempting to undermine—or at least that’s how it seems—Dance Studio Life and the Rhee Gold Company.

Though this kind of less-than-admirable behavior is disturbing, we have confidence that the passion behind our mission and the dedication of our readers to the values reflected in a quality dance education—and on our pages—give us an advantage. We’re not strategizing
about how to undermine the competition; that’s a waste of our time, which we’d rather spend delivering an excellent product to our readers. Dance Studio Life is headed into its fifth year of publication, and to judge by reader feedback, the magazine provides what you want and need.
That will continue to be our goal, regardless of the obstacles put in our way. Obstacles can lead to good things sometimes—that’s certainly the case with the emergence of jazz dance in this country. Out of the horrendous practice of slavery came a new form of expression in music and dance. Its evolution has been a fascinating unfurling of creativity fueled by human need and emotion, and it continues to this
day. Our focus on jazz dance in this issue will reveal this dance form’s complexity and compelling nature and is sure to inspire some of you to make it a bigger part of your lives.

Not only jazz dance but the dance world as a whole is continually shaped by the diverse personalities that inhabit it, as teachers, choreographers, and performers as well as those who dance, in classrooms and on social dance floors, only for the joy of it. Diversity makes us rich. Take pride in who you are and the good you bring to the art form of dance and to the students and audiences you touch.
Whatever success you are experiencing was born of the unique circumstances of your life. No one can replicate that. That’s what those who focus on their competitors don’t understand. Each dance school, company, artistic director, choreographer, performer, and—yes—dance-related magazine is a gift to those who inhabit our little corner of the world.

In an ethical society, there’s room for everyone. Here at Dance Studio Life, we strive for breadth that will enrich our readers’ lives, as well as those of their students and loved ones. As we head into a future that holds the potential for change under new leadership, we hope you’ll share our desire for inclusiveness. Ethics can shape our lives—if we let it.

Dear Rhee,
In my school I have several employees, both faculty and office staff. In the past my employees have arrived late for work and some haven’t followed procedures because they wanted to save themselves some time—which I know saves no time because we have to redo the things that they didn’t do right the first time.

At the start of the season, I sat all of my employees down for a meeting to discuss the issues that were bothering me, like arriving late and not following procedures. I explained that these actions had consequences on the reputation and growth of my business. After our meeting, I really felt good because it seemed like they were receptive and that they were going to improve. And they did, for about two weeks.

Since that meeting, my teachers and office staff have continued to arrive late, saying they’re sorry but they got stuck in traffic or had an emergency. When it comes to processing payments, it is my policy to input each day’s receipts into the computer prior to leaving for that day. But instead my office staff was playing catch up at the end of the week or month to get all the payments recorded, which has led to lost payments and discrepancies about those who have paid or not.

Today I emailed bills to parents whom I thought had a balance due, and it turns out that many of them had already paid but my office staff had not processed the payments. Some of them seemed to be put off by the bill they received. I apologized and made excuses, but I was embarrassed because I feel like it made me look disorganized.

I am angry and disappointed because I have already explained why I want my policies followed and my employees have agreed to do so, but they are not following through. The hard part of this is that everyone always tells me how lucky I am to have the employees that I do, yet they don’t know that those employees are not performing up to par. I can’t fire the entire crew, and I’m lost as to what to do. Please help me! —Janice

Hi Janice,
As a business owner, I feel that the hardest part of the job is handling employee issues, and like you, one of my peeves happens to be late employees. In your situation, what makes things worse is the inability to single out one employee since the majority of them are late most of the time. Sometimes I associate this problem with children—they see their friend do something, so they believe it’s OK if they do it, even though they know it’s wrong.

It’s time for more meetings, but this time I would schedule a one-on-one talk with each employee. This eliminates any embarrassment that they might feel about being told that they’re doing something wrong in front of their peers. Explain that you consider the tardiness and/or the lack of compliance with procedures to be a serious issue and that their actions are unacceptable. Regarding the processing of each day’s receipts, explain what you went through when you emailed the bills so that each employee has a concrete example of what the consequences of his or her actions were for you.

Follow up each meeting with the consequences that the employee will face if the problem persists, anything from a dock in pay to termination. The bottom line is that you are the business owner and you make the rules; if the employees value their jobs, then they should fall in line.

The catch to this is that you must act the first time that someone doesn’t follow through on your employment policies. Whatever you told them would be the consequence of their action has to happen, no matter what. If one person gets away with not following your policies without you taking action, then you will find yourself back in the same place you are now.

Another reason that you have to confront your employees is because of the stress that is building up inside of you. You probably feel the hit in the pit in your stomach every time an employee is late or doesn’t follow through. Ignoring the problem or not having the confidence to speak up will eat away at you and distract you from focusing on your business and classes.

I know this is easier said than done, but it’s something that all employers have to deal with. You will feel a lot better when you get it off your chest. Good luck! —Rhee

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Dear Rhee,
For the last 26 years I have been a school owner, completely devoted to my profession. I have taken pride in seeing my students grow to become successful adults as a result of having had dance in their lives. I was also delighted when I had the chance to see two of my students dance on Broadway.

I’m a single mom, and my school has been the financial backbone that has provided me with a home to raise three children and send two of them off to college. For these things I consider my dance life to be a blessing.

With all that said, the last couple of years have been a struggle for me. I no longer get excited to go to the studio. In fact, I am filled with anxiety every time I open the doors. It is so hard to face the parents who question me about class placement or my employees who base everything they do at the school on what they are getting paid for it. In the mix are the students who want to be in my performing group but then miss their classes and rehearsals. If I discipline a student who is acting up, I can always expect a call from a parent who would never consider that their child deserved the discipline. Instead they threaten to pull the child from my school.

I realize that the difference between now and 26 years ago is that then I was in control, running my school the way I wanted to. I felt a sense of respect from my students and their parents, which has now completely diminished. Today if someone isn’t pleased with my decisions, they simply move on to a school that will give them what they want, or they quit dancing altogether.

I feel like I am held hostage in my own business. Either I do what my students want or they will leave me. My teachers believe that they are not compensated enough and constantly ask me, “How much will you pay me for that?” They will no longer agree to be at registration, dress rehearsals, performances, and so on unless they are paid for it.

I could go on and on about what I’m feeling, but just writing to you fills me with anxiety. Am I alone with my struggles or are other school owners facing the same things? I am desperate for some sort of change, but I don’t know what to do. —Lee

Hello Lee,
First, let me start by saying you are not alone, and yes, I hear from many school owners who are facing the same challenges that you’ve described. However, my instinct tells me that you are dealing with more than just those issues—I believe that you are also facing burnout. That isn’t something to be ashamed of; I have been there myself (a couple of times). It may be time for you to speak with a counselor or another professional who will help you to move past this point.

From a personal perspective, I have discovered that burnout is the sign that it is time to change the direction of your life. Maybe 26 years of owning a school is enough for you. And if it is, then what could you do to close that chapter of your life and start a new one? Maybe you could consider selling your school and becoming an employee of the new owner, or you could sell the school and take a year off to decide what you want to do next.

That spirit that inspired you to become a dance teacher and school owner is still flowing through your blood; I can feel that from your email. But now it is time to nurture that spirit by making you your priority. You have spent the last 26 years giving all you have to your school and your students; be proud of that. But now it’s time for you to make yourself a priority. Don’t waste another minute putting your school before yourself! I wish you all the best. —Rhee

It’s time for our annual recital issue, and I think you’ll love this one—it’s packed with great information and new ideas. And though I’m sure that’s what you’re expecting me to write about this month, I’ve got something even more important than recitals on my mind right now.

If you’ve been paying any attention to the news, you’ve been inundated with stories that the economy is faltering and that America could be falling into an era as catastrophic as the Great Depression. That kind of economic outlook makes me—and probably millions of other Americans—very worried about what the future holds for our businesses, the customers we serve, and our loved ones.

In a recent online survey done by my company that reached more than 500 teachers, I learned that 44 percent of them have experienced an increase in enrollment while 26 percent report having the same number of students as last season. That leaves 30 percent of the respondents experiencing a decrease in their enrollment numbers. Though it’s tough on that 30 percent, I’m encouraged—it sounds like dance teachers in general are faring well in this economic crisis. It’s an indicator that parents will tend to provide for their children, even when it means tightening the belt in other areas.

However, our focus on this situation shouldn’t be limited to worries about how the dance industry will fare. What’s more important is how you and I can have an impact on the future in a positive way. When I ask my dance friends who they’re going to vote for in the presidential election, many respond that they are not even registered, let alone knowledgeable about what’s happening on the national stage. Some tell me that they don’t believe that their vote will make a difference. Frankly, I’m saddened by the response.

Yes, I know that dance teachers are dedicated to building strong dancers, maintaining enrollment numbers, having a bit of a personal life, and simply making it from day to day, but being ignorant of or ambivalent about the world isn’t going to make the future better. We have to become involved, and so does every citizen who values the American life we all cherish.

Do you know which candidate supports the arts? Who wants to end our addiction to oil? How about the one who will support a stronger and more efficient education system for our children? Which candidate will help to improve the tax issues that face small business owners? If you have no idea how to answer any of these questions, then how can we make our country better?

Let your hands dance you through the media to find the answers to these questions and others that will certainly have an impact on your future. Take action to do your part in getting everyone in this country to dance to the same beat. Imagine the changes that we could witness if we all took part in the public debate and gained more knowledge about the things that have a major effect on our everyday lives.

It’s time for dance people to stand up for what we know is right for our country and its future and urge everyone we know to join us. It’s too late to ask those of you who aren’t registered to vote to reconsider. But I’m asking all you registered voters who think your vote doesn’t count to set those feelings aside and put the welfare of this country and its young people first. Chassé your way to the polls on November 4, even if it means getting someone to cover a class or a rehearsal for you. Just do it—we can’t afford not to!